Catalogue of the Le Blond collection of Corean pottery

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SMITHSONIAN
INSTITUTION

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VICTORIA AND ALBERT MUSEUM

DEPARTMENT OF CERAMICS

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CATALOGUE OF
THE LE BLOND COLLECTION
OF COREAN POTTERY

By BERNARD RACKHAM

LONDON: PRINTED UNDER THE AUTHORITY OF
HIS MAJESTY’S STATIONERY OFFICE 1918
Freer Gallery of Art

Washingion, eats.

First printed August, 1918
Crown Copyright Reserved

Publication No, 126. Price 3s. 6d.

PREFATORY NOTE

HE collection of Corean pottery described in this catalogue

was formed by Mr. Aubrey Le Blond during a visit to

Corea in the year 1913, and was deposited on loan at the
Victoria and Albert Museum in June, 1914. Simultaneously with

the publication of the catalogue the collection is being offered by

Mr. Le Blond for presentation to the Museum, and I have much
pleasure in making formal announcement of the acceptance of this
valuable addition to the treasures of the nation, and in expressing
sincere thanks for this notable gift.

It is doubtful whether any larger or more important collection
of Corean pottery exists in Europe, since only isolated specimens |
have hitherto made their way into the national museums. Through
the generosity of Mr. Le Blond it now becomes possible for the
public to study a phase of the potter’s art which combines sound
ceramic qualities with real beauty of form and decoration, and
deserves a more general appreciation than it has hitherto received.

The catalogue has been prepared by Mr. Bernard Rackham,
Assistant Keeper of the Department of Ceramics. | He. desires to
acknowledge his indebtedness not only to the authors named in
the Bibliography, but:also in particular to his colleague, Mr.
Albert J. Koop, for advice given upon questions of epigraphy and
history, and to Mr. Oscar Raphael for suggestions in the matter
of chronological classification.

3 CECIL SMITH.
Victoria and Albert Museum,
August, 1918.

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CONTENTS

PAGE
PREFATORY NOTE. . eave , ! , ; ’ il
List “OF PLATES ; F : é : i V
BIBLIOGRAPHY . : : : : : Vil
PORRODUOTIONS joc ce azo lon Ones eres
GA UAGO GUID, Se j2 5 a ymNeieliy Gar Tre reread Wie ae ha
Parr A .—Indigenous Corean wares . 7 , 23
§ I.—Pottery of the Silla dynasty .. : : 23
\ Il.—Early pottery of uncertain date : ; 23
§ I1].—Pottery of the Korai dynasty . ; a3

Parr II.—Wares of uncertain origin, Corean or Chinese . 3)
§ I.—“ Marbled” ware . . : 37
§ Il.—Brown-glazed wares A t ; a7
§ I1].—Unclassed early white ware. : eters ae
§ 1V.—White porcelain. ; ; : 38
. mae I11.—Imported Chinese wares . pene: : ; 42
§ 1.—Chien yao or Temmoku ware. , A ; 42
§ I1—Tz’t-chou ware. ‘ : : 42
ADDENDA ; : : : ; a , 43
APPENDIX . i : : : - : ; 44

MEME ES Gn faeces a olga Mat Cem avg Ee ee

LIST OF PLATES

Frontispiece. Vasz. Corean celadon porcelain with mishima decoration.

1. Earthenware of the Silla dynasty.
2. Brown-glazed wares of uncertain date.
3, 4. White porcelain. 3
5. Early porcelain of uncertain date.
6-21. Celadon-glazed wares,
22-27. Mishima wares. |
28-30. Slip-painted wares.
31. Mishima jar.
32, 33. Slip-painted vases.
34. Early mishima bowl.
35. Celadon-glazed bowl and dish.
36. Celadon-glazed bowl. ‘“ Marbled” bowl.
37. Brown-glazed wares.
38. White porcelain cup. Brown-glazed porcelain bowl and stand.
39. Bowl of early cream-coloured ware. 3
40-43. Ting wares.
44. Celadon bowls, perhaps Northern Chinese.
45. Tz’ti-chou vase.
46-48. Stone chest.

BIBLIOGRAPHY

List of works consulted, with initials by which their titles are referred. to in the text.

Bosco Rerrz, 5. C.—Metropolitan Museum of Art. Catalogue of an exhibition
of early Chinese pottery and sculpture. New York, 1916. [Ch P Sc].

BriNKLEY, F.—Japan and China, their history, arts, and literature. Vol. viii. Japan,
Keramic art : vol. ix. China, Keramic art. London, 1904. [J Ch].

Burcess, James.—The Gandhara sculptures. (The fournal of Indian Art and
Industry, vol. viii. London, 1898). [G Sc].

Buruincron Fine Arts Cius.—Exhibition of early Chinese pottery and porcelain,
1910. London, 1911. [BF AC Ex].

BusHELL, SrepHEN W.—Oriental ceramic art, Collection of W. T. Walters. New
York, 1899. [OC A].

Description of Chinese pottery and porcelain, being a translation of the Tao

shuo. Oxford, 1910. [Ch PP}.

CHAVANNES, Epovarp.—Rapport sur les monuments de |’ancien royaume coréen de
Kao-keou-li. (Académie des Inscriptions et Belles-lettres, Comptes rendus. Paris,
1907.) [M K]. »

CHOsen Kosexr Dzuru (“ Album of Corean antiquities”). Tokio, 1915.

De Groot, J. J. M.—The religious system of China. Leyden, 1892-1907. [RS Ch].

Frnottosa, Ernest’ F.—Epochs.of Chinese and Japanese art, an outline history of
Kast Asiatic design. London, 1912. [Ch] A].

FiscHer, ApotpH.—Ueber koreanische Kunst. (Orientalisches Archiv, vol. i.
Leipzig, 1910-11). [K K].

Fiihrer durch das Museum fiir Ostasiatische Kunst der Stadt Céln. 2nd edition.
Cologne, 1913. [MO Ky].

FoucuEr, A.—L’art gréco-bouddhique du Gandhara. Vol. i. Paris, 1905. [A G-B].

Franks, Aucustus WoLLaston.—Japanese pottery. [Victoria and Albert Museum
Art Handbook,] 2nd edition, London, 1906. [J P].

GrarE, RanporpH I.—The potters’ art in Korea. (The Craftsman, vol. vii.
Syracuse, N.Y., 1904-05.) 3
Gerry, Axice.—The gods of Northern Buddhism. Oxford, 1914. [GN B}.

GrirFirHs, JoHn.—The paintings in the Buddhist cave-temples. of Ajanta,
Khandesh, India. London, 1896. [CT A].

GrtnwepeL, Asert.—Buddhist art in India, - Translated by Agnes C. Gibson,
revised by James Burgess. London, 1901. [BAI].

Hopson, Rogert L.—Chinese pottery and porcelain. London, 1915. [Ch P P}.

HotmE, Cuar.es.—The pottery of the Cha-no-yu. (Transactions and Proceedings of
the Fapan Society, London, vol. viii. London, 1910.) ;

vii

Vill BIBLIOGRAPHY

Jovy, Prerre Lours.—The collection of Korean mortuary pottery in the U.S.
National Museum. (Annual Report of the Board of Regents of the Smithsonian
Institution for the year ending Fune 30, 1888—Report of the U.S. National Museum,
Washington, 1890.)

Juvien, Sranis_as.—Histoire et ‘lirieueion de la por celaine chinoise, ouvrage traduit
du Chinois. Paris, 1856. [P Ch]. (A translation of the wea ae Chén t'a0 lu.)

Kawxoxv K6rar-vaxt Gwacud (“Album of Corean pottery”). 1910.

Koro, B., ‘and S$. Kanazawa. —A catalogue of the Romanized geographical names.
of Korea. ‘Tokio, 1903.

LauFEeR, BerrHotp.—Chinese pottery of the Han dynasty. (Publication of. the.
East Asiatic Committee of the American Museum of Natural History.— 2 he
Jacob H. Schiff Chinese Expedition.) Leiden, 1go9. [Ch P H D}.

—— Chinese sarcophagi (Ostasiatische Zeitschrift, vol. i. Berlin, 1912-13). [Ch S].

The beginnings of porcelain in China. (Field Museum of Natural History.
Publication 192.) Chicago, 1917. [B P Ch].

Morsz, Epwarp S.—Museum of Fine Arts, Boston, Catalogue of the Morse
Collection of Japanese pottery. Cambridge, U.S.A., 1901. [CJ P].

New York Japan Socrery.—Chinese, Corean and fapanese potteries, catalogue of
loan exhibition of selected examples, the Chinese and Corean authenticated by
R. L. Hobson, the Japanese by Edward S. Morse,-with a report on early Chinese
_potteries by Rose Sickler Williams. New York, 1914.

ParisH-Watson & Co.—Chinese pottery of the Han, T’ang and Sung Sake.
New York, 1917. [Ch P]. .

Petrucci, RapHaEt.—The Pelliot Mission to Chinese Turkestan. (Burlington
Magazine, vol. xix. London, rg11.) [PM]. .

Corean pottery. (Burlington Magazine, vol. xxii. Eonduh, 1912+13.) [C P].

oe Joun.—Ancient Korean tomb wares. (Burlington Magazine, vol. xx
London, 1911-12.) te ee

Rapiorr, W.—Arbeiten der Orchon Expedition. Atlas der Alterthiimer der
Mongolei. St. Petersburg, 1892. [A A M].

Rossett1, Carro.—Corea e Coreani. Parte 1*. Bergamo, 1904.

Stern, M. Auret.—Ruins of Desert Cathay. London, 1912. [R D C}

Tover Suvxo, an illustrated catalogue of the ancient Imperial. Treasury. called
Shoso-in. Tokio, 1909.

WADDELL, LaurENcE Austine.—The “ Dharani” cult in Buddhism. ( Ovtasieetsehe
Zeitschrift, vol. i. Berlin, 1912—13.) [Dh C].

Evolution of the Buddhist cult, its gods, images and art. (The Imperial and

Asiatic Quarterly Review, No. 65. London and Woking, 1912.) [E BC].

CATALOGUE OF
THE LE BLOND COLLECTION
OF COREAN POTTERY

INTRODUCTION

HE geographical position of the peninsula of Corea,
stretching as an outpost from the Asiatic mainland
towards the archipelago of Japan, accounts in large

. measure for the important part which the country has played
during the past in the development of Far-Eastern culture. It
was the highway along which civilisation marched from China
and Central Asia, and through Central Asia from the Medi-
terranean, to the island empire ; it was also through Corea that
the Buddhist religion made its way to Japan.

During the early centuries of the Christian era the country
consisted of three independent States, Korié (Japanese, Kédraz or
Koma ; Chinese, Kao-/), Pékche (Japanese, Hiakusat or Kudara ;
Chinese, Po-chz), and Silla (Japanese, SAzra or Shiragi ; Chinese,
Si-lo). About the middle of. the seventh century the most
important of the three, Silla, founded in 57 a.p. and occupying
the south-eastern extremity of the peninsula, absorbed the other
two, and a single kingdom was erected under Chinese suzerainty
with its capital at Taiku (Japanese, Task). During the ensuing
period, roughly contemporary with the T’ang dynasty in China
(618-907), under the influence of Buddhism, which was intro-
duced into Corea about 372 by the Chinese monk Sun-do, the
country reached a high stage of prosperity and civilisation. The
art of the period, showing Graeco-Bactrian influences which had

aa B

2 INTRODUCTION

travelled eastwards from Khotan in Central Asia, can be studied
only from the frescoes and sculptures in temples such as the
Horia-ji at Nara and elsewhere in Japan, where they are reve-
rently treasured as memorials of the nation which the Japanese
_ regard as the source in these early days of their own civilisation.

In 918 the kingdom of Silla was conquered by the revolted
province of Korio, the name of which, adopted as that of the
entire kingdom, survives in the European name Corea. What
is generally known as the Korai dynasty’ was established (in
924) by Oang (Wang) the Founder, and the capital was trans-
ferred to Songdo (“pine capital”), near the west coast. This
dynasty came to an end in 1392 with the revolt of Yi Taijo,
founder of the Yi (in Japanese Rt) dynasty, which closed with
the Japanese annexation of Corea in IgIo. The name of the
kingdom was changed to Chosen (Chinese Ch ao-hsien, ‘‘ morning
calm”), the capital was removed to Seoul, and Buddhism was
finally suppressed. The country -fell completely under the
domination of the Ming dynasty of China ; Confucianism -
displaced Buddhism as the State system of religion, and rapid
decline of culture followed. The final extinction of Corean
prosperity was brought about at the end of the sixteenth century,
when the country was invaded (in 1592) by a Japanese expedition
sent by the Taiko Hideyoshi. The war lasted till the death
of Hideyoshi in 1598, and in the course of it the peninsula was
devastated from end to end. From that time forward until the
last quarter of the nineteenth century it was the deliberate policy
of the rulers of Corea to cut off their country from all intercourse
with the outside world, and to make it, in very truth, a “ Hermit
Kingdom.” ‘The result was national stagnation and the degra-
dation of intellectual life in all its forms. |

With the exception of the few relics preserved in Japan,
scarcely anything remains to the present day of the greater arts
from the classical period of Corean history, ending with the
overthrow of the Korai dynasty in 1392. Amongst the lesser
arts, on the other hand, that of the potter can be studied from
a large number of surviving specimens. For this we have to

1 Sometimes also called the Wang dynasty.

INTRODUCTION | 3

thank the Corean burial customs of the period. As in Europe in
pre-Christian times and in ancient China, so in Corea, it was
the practice to.inter with the bodies of persons of distinction
various articles for their use in another world, including vessels
with offerings of food and wine. In Corea such objects were
placed in stone chests,‘ deposited in the tumulus on either side
of the coffin of the deceased. After the change of dynasties, the
burial customs were altered, so that “tomb wares” of later
date are exceptional. The absence of all signs of wear in the
pottery from the tombs, as distinct from occasional decomposition
of the glaze due to the effects of burial, may be explained by
the use for this honourable purpose of vessels new from the kiln.
Such wares are known by the Japanese at the present day as
Merk:, i.e. “ underground ware.” 2

THE earliest pottery found in Corea dates from the Neolithic
period, and belongs to a type which is distributed over Manchuria
and the adjacent parts of the continent as well as in Japan
and Saghalien. Crude hand-made wares, they have little artistic
interest and do not therefore find a place in the Le Blond
Collection. During the Silla dynasty (57-918), amongst other
appliances of Chinese civilisation, the potter’s wheel was. first
introduced into Corea, and with it numerous Chinese forms of
vessels. The first literary reference to ‘Corean pottery is that in
the annals of the Northern Chinese Wei dynasty (386-549),°
where the funeral rites of a certain region in Corea are described,
and pottery kettles filled with rice are stated to have been hung
beside the coffin. The wares of. this period, such as Nos. 1-3
(Plate 1) in the Collection, are found for the most part in graves
near ‘Taiku and Fusan in the extreme south. They closely resemble
the early tomb wares of Japan; whether the likeness is fortuitous
or due to the fact that the Japanese wares were made by Corean

* A chest of this kind is included in the Le Blond Collection. See Pp. 44,
Plates 46-48. :

* Fischer, K K, p. 154. (For abbreviations used in references see note at head of
Bibliography, p. vii.)

* Wei Shu, cited by Laufer, Ch PH D, p. 128, note.

4 | INTRODUCTION. |

potters working in Japan is a matter of dispute The body
is hard and resonant, of dark ash-grey hue, the surface devoid
of glaze, but close-grained and even; the shapes, thrown on
the wheel and carefully finished, have a simple dignity of outline ;
the vessels are sometimes decorated with incised lines or wavy
comb-marks, or with impressions, arranged in horizontal bands,
from wooden stamps cut with transverse grooves, circles, or
more elaborate devices. Certain of the vessels rest on high
cylindrical supports, pierced with triangular or rectangular
notches and perforations ;2 this latter type of vessel is exemplified
in the Le Blond Collection by a chafing-dish of hard cinder-grey
earthenware (No. 4, Plate 2), covered with a greenish-brown
glaze, a piece of uncertain age which, though later than the Silla
period, may probably be referred to an early date.®

ALL the best pottery found in Corea dates from the. period
of the Korai dynasty (924-1392). The finest wares are those
excavated from tombs in the neighbourhood of Songdo, where
also they were probably made; that they belong to the period
before the transfer of the capital from Songdo to Seoul (about
1392) is indicated by the names “ Kao-/-yao,” “ Koratyakt”
(‘“‘ Korai pottery,” literally ‘“ baking”), by which such’ wares
are known in China and Japan respectively.4 They may be
generally divided into three classes—(1) those undoubtedly made

1 The Japanese give to the Corean monk Gidgi (a.p. 670-749) the credit of
inventing the potter’s wheel, from which it’ may be inferred that it was first intro-
duced to Japan from Corea.

2 It has been suggested by Fenollosa (E Ch J A, vol. i. p. 13) that originally the
objects in which these perforations occur,were intended as cooking vessels, the openings
serving as vents for the smoke from the fuel, which was burned within the hollow
support. he perforations appear in one of the Silla bowls in the Collection (No. 2,
Plate 1). .

3 A similar vessel in the Museum at Seoul is ascribed to the seventh century a.D.
This tazza form, of frequent occurrence amongst the unglazed Silla tomb wares, is of
Chinese derivation and is known in Chinese as tow. It was used both at banquets and
as a sacrificial vessel in ancestor worship, and a tradition relates the introduction of the
- form (in what material does not appear to be stated) from China into Corea in the

twelfth century B.c.; see Laufer, Ch P, p. 126.

4 It has sometimes been assumed, probably in error, that fine ware continued to be

made until the Japanese invasion of 1592.

INTRODUCTION 5

in Corea ; (2) those resembling known Chinese types, and perhaps
to be regarded as importations rather than indigenous produc-
tions ; and (3) those which may confidently be classified as of
undoubted Chinese origin. |

In the first class, although Chinese influences are almost every-
where apparent, a distinctive character is generally recognisable.
There are certain technical peculiarities of frequent but not
invariable occurrence which are helpful in distinguishing Corean
from Chinese and Japanese pottery ; for example, the whole of
the base, including the foot-ring, is often entirely covered with
glaze, the rim of the vessel being left unglazed; little piles of
sand, leaving irregular patches of grit adhering to the surface,
were used instead of “stilts”? or ‘cockspurs” as supports in the
kiln ; the foot-ring (in the early wares) was generally of very
slight projection. Certain shapes also are peculiar to Corea, such
as the cup on a high foot and its accompanying stand or saucer
with a more or less prominent elevation in the middle upon
which the cup stands (Nos. 5, 34, 45, Plates 3, 11). For wine-
pots, vegetable forms, such as the sprouting bamboo-plant
(No. 42, Plate 9), the melon, the gourd, formalised with a skill »
and judgment which bear witness to the high artistic power
_ of their makers, were much affected by the Corean potter. In
general, the Corean wares of this classical period show a dignity
and simplicity of form, combined with an exquisite sense alike
of right proportion in spacing and of the beauty of subtle curves,
which entitle them to a high rank amongst the achievements of
the potters of the world.

A word may be said as to the uses of the various shapes.
By a strange singularity tea-drinking, though practised: from
early times in China and Japan, was unknown in ancient Corea ;
the vessels which might from their form be mistaken: for tea-pots
were used for pouring out wine, and the small bowls and cups for
drinking it. Larger bowls (such as Nos. 28, 37, 49, Plate 7) were
perhaps used as cisterns for small fish. The small neatly-fashioned
boxes, circular or octagonal, with flat-topped lid (Plates 3, 23, 24),
were made. for the writing table to contain vermilion or other
pigments for use on seals ; the small bottles of depressed globular

pees INTRODUCTION

form (Plates 24, 30) were intended for oil. Tall vases with
narrow neck (such as Nos. 73, 106, Frontispiece, Plate 32) were
doubtless used, as in China, to hold cut flowers. We learn also
from Hsii Ching (a.p. 1125), to whom reference will be made
on a later page, that narrow-necked vessels of very large dimen-
sions (six feet high by four and a half feet broad) were made
for storing fresh water upon sea-going ships, but none of these
appears to have survived.! sie
Amongst the motives of decoration, those drawn from plant
life predominate. Sprays of flowers or detached blossoms (the
water-lily or lotus, the plum, the peony, the chrysanthemum) ”
are scattered over the surface or preferably set at regular intervals,
often enclosed within circular medallions: On some of the earlier
wares are seen rows of closely-set discs, with or without enclosed
flowers, which are strongly reminiscent of Chinese types of the
T’ang dynasty.* The bamboo, the gourd-vine, the weeping
willow and various water-plants are frequently seen, the two latter
generally associated with crested mandarin-ducks (as on Nos. 49,
79, 93-95, 138, 139, Plates 23, 27, 44), geese (No. 73, Frontis-
piece) or other waterfowl. Cranes flying amongst clouds are
also a frequent combination (Nos. 75, 77, 78, Plates 23, 24). A
bird with the beak of a parrot and long flowing tail (Nos. 57~59,
Plates 15, 16) is, it would seem, a descendant of the “sun-bird ”
of early Eastern mythology, appearing in later Chinese art as the
“ phoenix” (féng-huang) adopted as the emblem of the Empress,
which, however, shows rather the characteristics of the pheasant.4

! Bushell, OC A, p. 679.

2 As in a fresco-painting of the T’ang dynasty in the Cave of the Thousand
Buddhas near Tun-huang in Chinese Turkestan (Stein, D C, vol. ii. fig. 160 and
p. 224), the chrysanthemum of early Corean pottery resembles the common ox-eye
daisy (Chrysanthemum leucanthemum) more than the cultivated variety of later Chinese
and Japanese art. 3 Compare Hobson, Ch P P, vol. i. p. 34.

4 This bird is probably to be identified with the roc of Arabia and the garuda of
Brahmanism. ‘The parrot-like form occurs in a relief on the Eastern gateway of the
Great Tope at Sanchi (second century B.c.) in India, of which there is a reproduction
in the Indian Section of the Museum (see Griinwedel, B AI, pp. 48, 50, Fig. 26), and
on a bronze mirror, a guitar (genkan) of inlaid sandalwood, and two cases to contain
pieces for the game of go, all preserved since the eighth century in the Shdso-in at
Nara, Japan; see Toye: Shuko, Plates 10, 42 and 70).

INTRODUCTION | -

Fishes amongst waves (Nos. 60, 85, Plates 17, 24) or in pairs
(No. 92, Plate 26) are a favourite motive. The human figure is
of very rare occurrence, and is apparently found only (as on
No. 99, Plates 28, 35) in the motive of boys sporting amongst
sprays of lotus.

Most of these motives have a symbolical import. The crane,
the companion of Shou Lao and emblem of longevity. and the
paired fishes, suggesting conjugal felicity, are borrowed from the
Taoist lore of China. For the majority the explanation is to be-
sought in Buddhism, the State religion of Corea until the four-
teenth century. Thus the lotus (Ne/umbium speciosum), rising
unsullied froma bed of mud, is regarded as an emblem of purity
and self-creation ;+ its eight petals, recalling the ‘“ Eightfold
Path” of Buddhist morality, and the likeness of its expanded
flower to the dharmachakra or ‘Wheel of the Law” gave it
additional significance.2 The frequent association of the water-
lily with the goose is paralleled in India amongst the sculptures
of the Bharhut and Sanchi topes (second century B.c.), and
conspicuously in the decorative panels of the fresco-paintings in
one of the later caves at Ajanta (sixth century a.p.).3 Its
prevalence is to be explained by the fact that the Brahman goose
(Hansa) or ruddy sheldrake was adopted by the Buddhists from
Brahmanism, in which it is sacred as the “vehicle” (vahana) of
Brahma,‘ and, as emblem of the setting sun, became merged with
the mythical Sun-bird or Golden Bird of Dawn, King of the
Golden Geese, as a personification of Buddha.? In modern times
the goose as a pattern of conjugal fidelity enjoys a popularity in
Corea equal to that of the stork in Northern Europe, and plays
a part in the Corean wedding ceremonial. _

The design of boys amongst lotus-sprays, a favourite in

1 Originally a Brahmanist symbol.
2-See Getty, G.N.B, p. 172:
3 See Griffiths, CT A, vol. ii. p. 42. Of these paintings there are copies in the
Indian Section of the Museum.
4 A figure of a goose on the top of a high mast is generally to be seen in the -
precincts of the Buddhist temples of Burma.
5 See Waddell, E BC, p. 140; DhG, p. 166.

g INTRODUCTION

Chinese porcelain down to the present day,! finds its parallel in
the decorative putt amongst scrollwork of Italian maiolica, with
which in fact it has a common ancestry ; also in the sixth century
Ajanta frescoes, mentioned above, closely similar- decorative
designs are found of boys and lotus-flowers.2. They occur again
in an early painting found by the Pelliot Mission in Chinese
Turkestan.? These Eastern figures are the Eros or Cupid of Greek
art of the Hellenistic period, shorn of his wings (the original also
of the Italian putt:), transmitted through the so-called Graeco-
Buddhist school of Gandhara in North-West India, a province
of the Graeco-Bactrian kingdom founded by the successors of
Alexander the Great. In the sculptures of this region, dating
from the first four or five centuries of the Christian era, we find
scenes from the life of Buddha enlivened by little genii carrying
garlands, just as in late classical art and its revived form in the
Renaissance period in Europe.

Among formal designs used for borders are rows of petals or
leaves, a row of Chinese ju-7 ‘“ wish-granting” sceptre-heads ®
(Nos. 92, 96, Plates 26, 27), fret-pattern and a motive derived
from wickerwork, also much employed in Chinese porcelain.

(1) InpIGENous Wares

THE indigenous Corean wares may best be classified by material
and technique ; there are no clues as to the localities in which the
various types were made.® ; :

First may be named a beautiful pure white porcelain (Nos.
5-18, Plates 3, 4) with a highly translucent body of granular
sugary fracture; the glaze with which it is covered is soft and
transparent, readily scratched, of decidedly bluish tone (suggesting

1 Hobson, Ch P P, vol. i. p. 150, speaks of the pattern as “Chinese in origin, but
frequently used by the Corean potters”; probably both uses should be regarded as
parallel derivations from a common source.

* See Griffiths, C T A, vol. i. p..13; vol. ii. p. 42.

3 See Petrucci, PM, p. 213, Plate IIc.

* See Foucher, A G-B, p. 240; Burgess, GSc, Plates 7, 21. -

> For the significance of the ju-7 sceptre see Hobson, Ch P P, vol. ii. p. 289.

§ Unless a local origin may be argued from the fact that all the finest celadon
wares are found in the neighbourhood of Songdo.

INTRODUCTION , | 9

the hue of an aquamarine) and full of minute bubbles ; in excep-
tional cases it is crackled (Nos. 5, 9, Plate 3). Sometimes the
base, sometimes the rim, is left bare of glaze; the paste where
thus uncovered occasionally shows a brownish discoloration on
the surface. The shapes are generally enhanced by simple
decoration, either rough incised foliage, impressions or combings
effected with a corrugated implement, or relief ornament produced
by pressing in a mould, or by modelling in thick slip, or by both
methods combined. This type is seen only in cups, dishes, boxes
and other objects of small size ; from the character of design in
the decoration it may be dated as contemporary with the Sung
dynasty in China (960-1279). One of the small boxes in the
Collection (No. 6, Plate 3) has the unusual feature of a personal
name, C/’én Shih-1, inscribed upon it, probably that of the maker
rather than the destined owner, as it is moulded in relief beneath
the base before firing.

Somewhat similar in outward appearance to this type are
certain miniature objects (Nos. 1g—28, Plate 3), apparently toys,
which may perhaps be referred to the same period. ‘The glaze
has the same bluish tone ;.the paste, however, is much coarser
and quite opaque, and the bases of the objects are disfigured with
adherent sand upon which they were supported for firing.

Other pieces which bear some resemblance to this translucent
type of porcelain are Nos. 29-31 (Plate 5). In all these the body
though white is coarser and less translucent (in No. 31 absolutely
opaque) ; the glaze is of a dull greyish tone, in No. 29 of a
greenish cast. It seems probable that these pieces should be -
referred to a somewhat later period than the very translucent class.

BUT the majority of the wares from the graves of the Korai
dynasty belong to the class generally known from the colour of its
glaze as “celadon” ;1 glazes of this colour, a greyish or brownish
sea-green of widely varying tone, derived from iron, were of
common occurrence wherever porcelain was made in the Far East.

* The word “celadon” is of French origin, being derived from the name of a

character in a seventeenth-century play (based upon L’ Astrée, the romance by
J > I, ° .
Honoré d’Urfé) who appeared on the stage in a costume of this: colqur.

id INTRODUCTION

There are two main types of Corean celadon. One has a very
close and hard opaque porcellanous body of light ash-grey colour
with a faint violet cast, generally burnt to red where the surface is
exposed ; the body of the second type is a fairly hard but friable
brick-red earthenware.

The first of these two types, the porcellanous celadon, comprises
the most characteristic of all Corean wares, as they are in their finest
manifestation the most beautiful. They are referred to in a Chinese
work published in 1387, the Ko ku yao Jun, ‘ Essential Discus-
sions of the Criteria of Antiquities,” as resembling the pottery
of Lung-ch’iian. A still earlier reference is that of a Chinese
officer, Hsii Ching, who accompanied an embassy from the
Emperor of China to Corea on the occasion of the accession of a
new king in the latter country in 1125.7 In his account of this
mission Hsii Ching speaks of Corean porcelain as being ch ing
(green or blue) in colour and prized very highly ; he mentions, ©
amongst other vessels, wine-pots in the form of a gourd, with
lotus-leaf cover on the top of which a duck is seated, and incense
burners in the shape of, or surmounted by, a lion. Certain
porcelains are described as resembling the ancient pi-sé (‘secret
colour”) porcelain of Yiieh-chou and the “new porcelain” of
Ju-chou in China. This passage has often been quoted as giving
the clue to the nature of the last-named Chinese wares.

This grey-bodied porcellanous type of ware has a thick semi-.
transparent celadon glaze varying slightly in translucency and
resembling jade in texture, in the finest examples of a soft satiny
feeling to the touch. The colour is generally a greyish-blue with a
slight greenish tinge, in exceptional cases greenish-brown of
approaching mouse grey. ‘The entire base, including the foot-
ring, is generally covered by the glaze ; where this is not the case,
the exposed surface of the paste has burned to a reddish-brown
colour. Scars, generally three in number, indicate the use of

1 The reference is discussed at length on p. 12 below. Lung-ch’iian, in the
province of Chékiang, in China, was celebrated from the time of the Sung dynasty
onwards for its manufacture of celadon-glazed porcelain.

2 Bushell, Ch PP, p. 52, note, and OCA, p. 679; a variant translation is given
in Bosch Reitz, Ch P Sc, p. xxv.

INTRODUCTION II

stilts or ‘“‘ cockspurs” as supports in the kiln, though occasionally,
as in many coarser Corean wares, piles of sand have served the
same purpose (compare Plate 26).

Decoration is effected by a variety of methods. The highest
level of artistic skill is shown in designs incised with a pointed
instrument in the paste or cut out in countersunk relief before the
application of the glaze. Projecting reliefs are obtained either by
pressing the vessel into a mould, producing clearly perceptible
corresponding depressions on the reverse side, or by carefully
building up the design on the surface by the application of clay or
“slip” in a semi-fluid state ; in these cases details of the design are
often added by engraving. A process which is more than any
other distinctive of Corean pottery is that of inlaying, generally
known by the term applied to it by the Japanese, ‘‘ mzshima.” + The
process apparently originated in China, though it was rarely
practised in that country ; a Chinese prototype is known which
can be attributed to the T’ang dynasty (618—go07), thus probably
anticipating any Corean inlaid wares hitherto discovered.? The
details of the design were first impressed with small stamps or
incised in the surface of the paste, then filled in with white or
greenish-black clay alone or in combination,? and finally covered
with the celadon-green glaze. In rare cases (as No. C. 72-1911
in the Museum collection) touches of a dull crimson pigment
derived from copper (under the glaze) are added to this colour-
scheme. Mzshima decoration is often combined with moulded or
modelled relief designs.

Lastly the celadon ware of this class is sometimes decorated
with painting in thick brown and white clays, separately or
together, under the glaze. Such painted wares are known in
Japan as Yegéraz (“ painted Corean”) ; they are usually somewhat
coarse in quality and perhaps later in date than the finest celadons.

1 Or “ mishimade” (mishima pattern). ‘This term, now generally used of all inlaid
Corean and Japanese wares, was at first applied to the early Corean wares described
below, with inlaid patterns showing a fancied resemblance to the vertically-set
ga of the almanacs compiled at Mishima in Japan.

2 See Bosch Reitz, Ch P Sc, Catalogue, No. 11.

3 ‘There appears to be a tradition, which must be abandoned on technical grounds,
that the inlay is composed of powdered jade.

ED INTRODUCTION

The better celadon wares, such as Nos. 42, 48, 56-58, 60-62,

pon (Plates-0; 01 ,.15,017,) 18; 28)-in, the Le: Blond-Collection,
show great beauty of design ‘and refinement of finish, and may
probably be referred to the twelfth or thirteenth century (about
the middle of the Chinese Sung dynasty, 960-1279), though the
manufacture of an inferior kind would seem to have continued
through the fifteenth and sixteenth centuries. Most of the pieces
in the Collection may confidently be dated before the fall of the
Korai dynasty in 1392.
_ The second type of celadon ware, apparently contemporary
with the above and in other respects resembling it, is distinguish-
able from it by its friable brick-red earthenware body ; examples
of this softer ware in the Collection (Nos. 105-107, Plates 31-33)
show both inlaid and painted decoration.

EARLIER in date than the true celadon-glazed wares is a class
of ware (Nos. 108-111, Plates 24, 34) with opaque hard grey
body and inlaid decoration of the mishima type in white only,
under a glaze of pearly grey tone, sometimes with a tendency
to greenish-brown. It is to this class that the Japanese term
mishima was first applied from the resemblance of the concentric
rows of small flowers or radial bands to the columns of characters
in the Mishima almanac.! It is probably also to this class that
reference is made in the Ko ku yao /un of 1387,” which states that
some of the Corean celadon ware, pale ching in colour, was
decorated with patterns in white, ‘but that such ware was not
highly esteemed.* It is of all Corean wares the most frequently

1 See footnote, p. 11 above. 2 Compare p. 10 above.

3 The passage is cited in the I’ao shuo, p. 52 of the translation (Chinese pottery
and porcelain) by Bushell, where, however, the Chinese word hua is wrongly rendered
in its original specific sense of “flowers” instead of its derivative signification ‘ orna-
ment” or “decorative design” of any kind. ‘The same passage of the Ko ku yao lun -
is evidently the authority for the relevant reference in the paragraph on Corean porce-
lain in the T’ao Ju, translated by Julien, P'Ch, p. 35: ‘Ce sont des porcelaines que
Pon fabrique en Corée. J’ignore a quelle époque elles ont pris naissance. Elles sont
extrémement minces et leur émail ressemble un peu a celui de King-te-tchin [Ching-té
Chén, the great centre of the porcelain industry in China]. I] y ena d’un bleu pale
qui ressemblent a celles de Long thsiouen [Lung-ch’tian, the chief mediaeval seat in
China of the manufacture of celadon porcelain]; ... Si elles sont ornées de branches

INTRODUCTION | 13

found in Japan, where, in spite of its somewhat crude character,
it is eagerly sought after by collectors.

The muishima process was extensively adopted in Japan, and it
is said to have been introduced into that country by a Corean
carried off thither at the end of the sixteenth century by the
victorious armies of Hideyoshi. Inlaid wares somewhat resembling
the Corean were made by this potter and his descendants at
Yatsushiro in the province of Higo; the manufacture has been
revived there in recent times. Japanese imitations of Corean
mishima ware have also been made in the province of Satsuma.

There are two specimens in the Collection, varying from
the classes described above but probably contemporary, which
may be mentioned here. The dish, No. 112 (Plate 35), has a
coarse greyish-white body, hard and unusually heavy in weight,
covered with a thick and glassy crackled glaze, transparent,
of bright celadon-green hue with a cloudy grey stain. Of
another entirely different class is a bowl (No. 113) distin-
guished by its unusually broad foot-ring of shallow projection,
. on which are four instead of the customary three spur-marks ;
the paste is hard, of a reddish colour, the glaze, originally a pale
greenish- grey, stained through crazing to a warm buff tone.

Certain indigenous Corean wares are not easy to define
chronologically. In the Le Blond Collection is a vessel of soft
red earthenware covered with a dark brownish olive-green glaze
(No. 114, Plate 2) ; its form, with handle fashioned as a long-
bodied feline animal, has an archaic appearance, but the crudeness
of technique and the quality of the glaze suggest a relatively recent
date, perhaps the sixteenth or seventeenth century.! Another piece
of uncertain date is a jar (No. 115, Plate 37) with thin dark

de fleurs blanches, elles n’ont dans ce royaume (Corée) qu’une valeur médiocre.”
Here again, as pointed out by Brinkley (J Ch, vol. viii. p. 49), Awa is mistranslated
branches de fleurs. In the versions of Bushell and Julien the word rendered “ green,”
bleu, is ching, which may mean either “green” or “blue” indifferently, and could
probably be applied correctly to the greyish tone occasionally verging on dull greenish-
brown of the glaze characteristic of this class of mishima ware.

* ‘The twist in the body of the animal is ‘paralleled in the plaited openwork body
of the monster forming the arched handle of a Chinese bronze kettle-shaped vessel in
the Museum (No. 227-1879) which dates from the Sung dynasty (960-1279).

14 INTRODUCTION

greenish-brown glaze ; the body, of hard pale buff-coloured paste,
shows analogies of finish with certain Chinese wares of the T'ang
dynasty. A similar dark brown glaze, but over a coarse red body,
is exhibited by a bowl (No. 116) also of somewhat uncertain
origin and date.

(2) Wares oF UNCERTAIN ORIGIN

WE now pass to the discussion of wares which, although
found in Corea, must be regarded as of debatable origin.’ It
is certain that from quite early times there was a considerable
importation of utensils of all kinds, including pottery, from
China, just as recent political developments have brought about
an extensive import trade from Japan. The difficulty is in
many cases to distinguish between Chinese imported wares
and the imitations of them made in Corea itself.

The first group to be considered is that of the wares varying
in body from coarse earthenware or stoneware to semi-porcelain,
covered with a brown glaze derived from iron, and more or
less variegated by transmutation in the kiln with markings of
intense black, the predecessors of the well-known “ dead-leaf
brown” and café-au-/ait glazes of Chinese eighteenth-century
porcelain. A clearly defined type of this class is that of the
tea-bowls made during the Sung dynasty in the province of
Fuchien in China, and hence known as Chien yao (‘ Chien
ware”). Such bowls were much prized, by the tea-tasting
parties of Sung times, and even more by their later Japanese
imitators. They are known in Japan as Temmoku, from the
name of the locality in Fuchien in which they were made,
viz. Temmoku-zan (Chinese, 7°ien-mu-shan), or ‘‘ Eye-of-Heaven
Mountain”2; this was presumably in the neighbourhood either

>

1 R. Petrucci (Burlington Mag., vol. xxii. p. 82) stands alone amongst recognised
authorities in disputing a Corean origin even for the celadon wares already described,
with the exception of the coarser varieties, claiming that they are Chinese importations
of the fourteenth or early fifteenth century.

2 This explanation of the name is given by a Japanese dictionary entitled Genkaz,
by Otsuki Fumihike, 1904; the word is used of this particular kind of tea-bowl in
much the same way as “ulster” is used in English of a kind of coat originally made
in the province of that name.

INTRODUCTION Is

of Chien-an or of Chien-yang, the two places in the prefecture
of Chien-ning in which the manufacture is recorded to have
been successively located! Three imported specimens of this
Chinese ware are included in the Collection (Nos. 140-142,
Plate 37). It is characterised by a hard and unusually heavy
granular body of dark purplish-brown colour, and by a thick
lustrous glaze in which the black has developed SO: aS. bm
predominate over the brown; the latter appears in the form of
more or less conspicuous areas or flecks on the sheeny black
: ground, giving rise to the names “ hare’s-fur cups’ and “ partridge
cups,” by which, from a resemblance to the coat or plumage of.
these creatures, such bowls are known amongst the Chinese.

A glaze oe the same composition, but somewhat different in
its colour-markings, is found on a class of ware with compact pale
buff-coloured body, lighter in weight than the Chien yao, which
appears to have been made, probably as early as the T’ang dynasty
(618—go7), in the Chinese province of Honan. Ware of almost
indistinguishable character is found in Corea (as Nos. 121, 122,
in the Collection, Plate 37), and it seems likely that this may be
a case of a close ceca blancs between the productions of a Chinese
and a Corean manufactory ; -2 if so, the Corean variety is amongst
the earliest ceramic productions of the Korai dynasty (924-1392),
if not still older. The glaze of this pale-bodied ware differs from
that of the true Temmoku in the less even distribution of the
colour ; the brown suffuses the black in more or less irregular
mottling.

A Corean origin, again perhaps earlier than the tenth century,
may safely be postulated for another kindred type (Nos. 119, 120,
Plate 37) with greyish-brown body and a soft-looking glaze of the
usual dead-leaf brown running down in an uneven wave below a
thick upper glaze of dark treacle brown. Lastly, amongst glazes
of. this group must be named a specimen (No. 118, Plate 38) of a
very beautiful porcelain of pure white body, thin but not
translucent, covered with a glaze of warm brown verging on
rust colour and clouded with olive-greenish ey the

tJolien,P Ch. p18:
2 Compare Fischer, MOK, p. 103, and Hobson, Ch P P, vol, i. p. 133.

16 INTRODUCTION

technique shows the refinement of finish and the subtle beauty of
form which mark the best Chinese wares of the T’ang dynasty.
This rare type is known amongst Japanese collectors as Kaki
gusurt, ‘‘ persimmon-glazed,” from its resemblance in colour to
that fruit. An exactly similar type does not seem to have been
found as yet in China, so that, in the absence of evidence to the
contrary, a Corean origin may again be claimed, and a date about
the beginning of the Korai dynasty.!

Before leaving the brown-glazed wares allusion may be made
to a “ porcelain bowl of the capacity of half a Aw (ze. about three
gallons), translucent both inside and outside, of a pure brown
colour, half an inch thick, but as light as swan’s down,” which is
recorded? to have been given in 841 to the Chinese Emperor
Hui Ch’ang by the province of P’o-hai (modern Manchuria), at
that time subject to Kao-li (ze. North-Western Corea). The
difficulty of reconciling the large capacity of the vessel with its
other recorded qualities suggests caution in the too literal accept-
ance of this statement,? but as the Chinese commentator remarks,
it is probable that the porcelain of the P’o-hai people was similar
to that of their Corean governors, so that this tradition may be
taken as evidence for the manufacture of brown-glazed ware in
the peninsula as early as the ninth century.

Another main group of uncertain origin is that of the white
or cream-coloured wares generally classed as ‘‘ Ting ware,’ * from
the name of the chief Chinese centre of their manufacture,
Ting-chou, now Chéng-ting Fu, in the province of Chin hie
kilns were probably at work there when the Sung dynasty began
in g60, and it appears that white ware of similar character was
being made in the same part of Chili as early as the T’ang
dynasty (before go7). When the capital of the Sung Emperors
was removed to the south, in 1126-27, the Ting manufacture was

1 A bowl, however, which seems from its description to show very similar
characteristics, illustrated in colours in Parish-Watson (Ch P, Catalogue No. 132), is
there classed as “‘ Chien ware”’ of the Sung dynasty.

2 In the T’ao shuo (Bushell, Ch P P, p. 102).
3 “Translucent” should evidently be taken as referring to the glaze only, not to

the body.

4 Known in Japan from its colour as torinoko, “egg” ware.

INTRODUCTION 17

also transferred, to Ch’ang-nan, now famous by its later name of
Ching-té Chén, in Kiangsi. Similar wares known by the generic
name of “Ting” were made from the Sung period onwards at
many other places in China.

Three different kinds of Ting ware are described by Chinese
writers, viz.: par (“white”) Tig, a beautiful porcellanous ware,
generally more or less translucent, with smooth cream-coloured
glaze, fen (“rice-flour”) Ting, with light buff-coloured glaze, and
fu (“earthy”) Ting, with a relatively coarse opaque granular body ;
it seems likely that all three varieties were made concurrently,
though probably only the fine paz Ting was made before the
removal of the manufacture from Ting-chou. Much of the ware
was left quite plain. When decoration was added, the processes
of engraving and carving in the paste before application of the
glaze, pressing into moulds to produce relief designs, and even, it
is said, painting were used. The ware with engraved decoration
was most highly esteemed. The glaze of Ting ware has often run
down or coagulated in thick straw-coloured drops, a defect likened
to tear-stains which came to be prized as an enhancement by
Chinese connoisseurs and is often to be met with, as on Nos. 135
133, 136 (Plates 42, 43) in the Le Blond Collection.

It has sometimes been argued that the numerous specimens of
Ting. ware of various classes found in Corean graves were without
exception imported from China. The record of Hsii Ching,
already cited, refers not only to green ware or celadon as being
made in Corea, but also to bowls, cups, platters and other vessels
“all closely copying the style and make of Ting ware.”! This
statement, taken with the large quantities of white ware found,? is
good evidence in favour of a Corean manufacture, although it is not
easy to differentiate the indigenous from the imported specimens.

Amongst the specimens of Ting ware in the Le Blond
Collection the earliest are probably several small circular boxes
(Nos. 124, 127, Plate 40) with a body showing a brownish hue
where not covered by the minutely-crazed cream-coloured. glaze.

' Bosch Reitz, Ch P Sc, p. xxvi.

2 The Ting ware in Corean tombs is known by the Japanese as Hakugorai,
“white Corean.”

Cc

18 | INTRODUCTION

These may, perhaps, be dated before the Korai dynasty and are
very likely indigenous. Of Corean origin, also, may possibly be a
small bowl (No. 135, Plate 40) with an exquisite incised lotus-
spray, another (No. 134, Plate 42) with rough scorings, and a
third with beautiful slip painting (No. 136, Plate 43), all of fine
translucent ware with soft creamy glaze. These may be classed
either as true Chinese Ting of the “northern” (paz) type made
before the removal of the manufacture from Ting-chou southwards
in 1126-27, or else as Corean imitations, which may reasonably be
expected to have approximated to the “‘northern” rather than to
the later Chinese type. —

No specimen in the Collection can be identified as belonging
to the fén Ting class, but the ?u Ting, or “earthy” type, is
represented by Nos. 129-132 (Plates 40-42), varying in quality
from the charmingly-shaped wine-pot (No. 130, Plate 41)} to
coarser pieces with thin greyish glaze making no pretensions to
fine workmanship. :

A third group of doubtful wares comprises certain pieces, un-
_ doubtedly of early date, of dense brownish paste with a transparent
olive-green celadon glaze full of minute bubbles (Nos. 137-139,
Plate 44), having decoration beautifully carved into the surface or
produced by pressing in a mould with details afterwards incised.”
Specimens very similar to these are found in Northern China,? so
that their place of origin must be regarded as an open question.

1 An almost identical specimen in the collection of the late Mr. William c.
Alexander is illustrated in Hobson, Ch PP, vol. i., Plate 24 (where it is erroneously
described as translucent) and in B F AC Ex, Plate xxiii. D. ro.

2 A feature of all three bowls is that the foot-ring has been ground down to afford
an even standing base.

3 Compare Hobson, vol. i. p. 85, Plate 18, Fig. 1, Bosch Reitz, Ch P Sc, Catalogue
Nos..276, 277, and BF AC Ex, Plate xxii. K. 50 (a bowl which is ascribed, almost
certainly in error, to the Kuan yao class, made first at K’ai-féng Fu and later at Hang-
chou). Also Fischer, MOK, p. 106, where allusion is made to Chinese bowls found
- in a grave in the province of Honan. .

Mr. Hobson (Ch P Sc, p. 85) mentions a bowl of this ware brought from Japan,
now in the Kunstgewerbe Museum in Berlin. He adds “the name Shuko-yaki, by
which . . . [the ware] was known in Japan, sheds no light on the question of its
origin.” This term is perhaps derived from the name of Shuko, who codified the
rules for tea ceremonies in Japan under the patronage of the Shogun Yoshimasa (1443-

1473); see Franks, J P, p. 3.

INTRODUCTION bee 19

The bowl (No. 117, Plate 36) represents a rare type of which
a few examples dating from the T’ang dynasty (618-907) have
been found in China.’ The technique, used by the potters of
Roman times who made “Samian” ware in Northern Italy and —
the south of France early in the Christian era, and more
familiarly in the “agate ware” made by Thomas Whieldon and
other Staffordshire potters of the eighteenth century, Consists in
fashioning the vessels from a blended body produced by kneading
together finely divided shreds or lumps of clays of different colours,
in this case white and dark brownish-grey. This type is known
in Japan as neriage. The bowl in the Collection shows the thin
finely-crazed cream-coloured glaze of much T’ang pottery and
should probably be classed as an importation from China.

(3) ImporTepD Wares

ANOTHER class of early imported ware frequently found in
Corean graves, and sometimes wrongly described as Corean, is
that of the kilns of Tzt-chou, now in the province of Chili, but
formerly included in that of Honan, in the north of China.
The body is a heavy cream-coloured paste similar to that of the
‘earthy’? variety of ware made at Ting-chou, which was not far
distant from Tzt-chou. The productions of Tzt-chou exhibit a
great variety of methods of decoration, but the specimens found in
Corea are mostly painted with sketchy but vigorous designs in
dark treacly brown? over a surface of thick cream-coloured slip, a
transparent glaze covering the whole. Sometimes, as in No. 143
(Plate 45) in the Collection, a large part of the surface is
covered with a brown glaze of the same colour as the pigment
used for the painted decoration. Though the’ same type of
ware has been produced continuously at Tzti-chou until modern

* Hobson, Ch’P P, vol. i. p. 33 a grave-pillow of this ware is illustrated in Bosch
Reitz, Ch P Sc, 1916, Catalogue No. 10. A statuette of similar ware illustrated in
Parish-Watson, Ch P (Catalogue No. 102), is ascribed to the T'zt-chou kilns of the
Sung dynasty. .

* The statement of Brinkley, J Ch, vol. viii. p. 44, that the brown pigment was
obtained from the juice of the persimmon (Diospyros kaki) is for technical reasons quite

inadmissible. ,
: oats

20 ° INTRODUCTION

times, the specimens disinterred in Corea may safely be regarded
as earlier than the Ming dynasty (ze. before 1368). Quantities
of this ware are found in Japan, where it is erroneously classed,
with the brown-painted celadons already described, as Yegoraz,
“painted Corean”; it appears to have found favour with
Japanese tea-clubs from the time of their wide development in
the fifteenth century. It was either imported by way of Corea
or by junks touching on their voyage from China at a Corean
port, and thus came to be mistaken for a Corean product in
precisely the same manner as the Hispano-Moresque lustred
ware shipped in Majorcan vessels from Valencia to Italy was
known in the latter country as “ mazolica” or Majorca pottery.

BRIEF reference may be made in conclusion to the pottery
made in Corea during the period of isolation which followed
the Japanese invasion of the sixteenth century. This phase is
not represented in the Le Blond Collection, but its character
may be judged from specimens in the collection of the Museum.'
The influence of Chinese porcelain and, in some of the later
examples, of the “ Imari” ware made at Arita in Hizen, the
Japanese province lying nearest to Corea, is strongly apparent ;
yet there are characteristics by which the Corean wares are
easily distinguished from the productions of the neighbouring
empires, and, although their quality is generally poor, their
themes of decoration often show an interesting originality of
treatment. Certain shapes are also peculiar, as for instance
the bulbous bottles with narrow neck contracting upwards and
a roll moulding at the mouth, which show a profile quite distinct
from that of any Chinese or Japanese forms. ;

During the seventeenth and eighteenth centuries a coarse
white porcelain was made, not always translucent, heavy and
clumsily finished; the thick glaze is generally, in unpainted
pieces or those decorated in underglaze cobalt blue,? of a

1 The Museum collection also includes fine specimens of earlier Corean ware of
various Classes.

2 This, one of the commonest of ceramic pigments, appears to have been unknown
in Corea before the Yi dynasty. :

INTRODUCTION 21

pronounced greenish-blue tone. A large proportion of the
porcelain is “blue and white,” the pigment showing a tendency
to a dirty greyish tone. The motives of decoration include sprays
of peonies, chrysanthemums and other flowers, dragons, roughly
drawn landscapes sometimes enlivened with hunting scenes or
other figure-subjects, in which the themes of the late Ming
porcelain-painters of China are the obvious source of inspiration.
Of less frequent occurrence as pigments are a dark underglaze
brown derived from iron, which develops in the firing spots
of lustrous rusty red, and an underglaze copper red of flery
- crimson tone quite distinct from the rouge de cutvre of the
Chinese potters; a large jar with a bold design of lotus plants,
No. C. 131-1913 in the Museum collection, is a striking
example of the latter colour.

Overglaze enamel colours were also sometimes employed.
A distinctive colour-scheme is that in which a dark green enamel
is used alone with underglaze blue. Imitations of the Chinese
“five-colour” and ‘ four-colour”’ porcelain of the later Min
emperors are also found, as in a bowl in the Museum (No. C. 664-—
1917) decorated with roughly painted landscapes in panels in
_ vivid iron-red, green of two shades, and yellow over a thick putty-
coloured glaze which may be likened to “ mutton-fat ” jade.

A certain degree of skill is shown in some of the porcelain
with decoration cut in openwork through the walls. The coarse
stonewares and earthenwares with cream-coloured or brown glazes
. made for domestic use are of no artistic interest.

TWO objects accompanying the collection of pottery—a stone
chest (Plates 46-48) and a small slate memorial slab—are described
in an Appendix. During the Korai dynasty the coffins of
deceased persons of importance were buried beneath a mound
of earth or tumulus, and on either side of them was laid a
chest such as that described in the catalogue, somewhat smaller
than the coffin itself; to contain clothing, articles in bronze, -
and pottery vessels filled with offerings of food and drink. The
coffin itself would seem to have been made of wood, as generally
in China also from remote times to the present day. As has

22 ~ INTRODUCTION

already been stated (p. 3), most of the glazed wares of which
the Collection mainly consists were found deposited in chests
of this description in tombs. In earlier times the tombs took
the form of chambers, constructed of blocks of stone of large
dimensions, over which a mound of earth was sometimes thrown
up; unglazed pottery and bronze articles have been found laid
upon the floor of these chambers.1_ In this respect the earliest
Corean custom corresponds with that of China, where also the
offerings are simply placed in the tomb chamber without an
enclosing chest of any kind.

Other questions relating to the chest and memorial slab are
fully discussed under their descriptions in the catalogue (pp. 44, 45).

1 Compare Chasen Koseki Dzufu, passim, and Chavannes, M K, Figs. 5-16.

CATALOGUE
PART I—INDIGENOUS COREAN WARES

§-I— POTTERY OF. THE. SILLA, DYNASTY. (4,0. ; 575-918)

Harb EARTHENWARE with dark ash-grey paste, unglazed.
Nos. I—}.
1. Vase, six-lobed, undecorated. H. 134 in., D. 74 in. (see p. 3). (PLATE I.)

2. RicE-BOWL AND Cover, on-high foot with two rectangular holes cut through it at
opposite sides. On the cover, short bands of chain-pattern radiating from the
projecting ring in the middle, produced with a narrow stamp cut with a row .
of small circles. H. 42 in., D. 5} in. (see p. 4, note). (PLATE 1.)

3. Rick-BowL anp Cover, both decorated with bands of notched zigzag pattern and
hook-like devices, above which on the bowl is a row of formal devices, all
impressed with small stamps. H. 54 in., D. 64 in. _ (PLatE 1.)

§ II—EARLY POTTERY OF UNCERTAIN DATE
No. 4.

4. CHAFING-DIsH of hard blackish earthenware, covered with a dark olive-green
glaze much decomposed by burial. High hollow stem, pierced with sharply-cut
rectangular openings in two tiers. Round the bowl on the lower side a row
of dotted devices impressed with a notched stamp. H. 7 in., D. 7 in. (see p. 4).

(PLATE 2.)

§ IIl—POTTERY OF THE KORAI DYNASTY (a.p. 924-1392)
A

WuiITeE PoRCELAIN, highly translucent, with thick transparent
glaze of more or less pronounced bluish tone over a sugary-white

23

24 CATALOGUE

paste, sometimes showing a brownish surface where not covered
by glaze (see p. 8).
| (2) Undecorated.
Nos. 5, 6.
5. Cup on high foot, and Sranp with flat rim, separated by a deep channel from the
projection which receives the cup, and high foot-ring. The glaze, which is

slightly crazed, runs up inside the foot of both pieces, but leaves the base bare.
Cup : H..2$ in., D..28 in. ; stand: H. 3 :in., D. 54 in. (see p. 5). . (PLATE 3.)

6. PIGMENT-BOX, octagonal, with flat Cover bevelled at the edge, glazed inside
-and outside except under the base, on which is an inscription moulded in
relief (in Chinese, Ch’én Shih-i), perhaps the name of the maker. H. 12 in.,
D. 24$.in. (see p. 9). (PLATE 3.)

(4) With incised or engraved decoration under the glaze.
Nos. 7—I3.
7. Bowt, cone-shaped, with spreading mouth, small foot-ring. Decorated inside by
means of a comb with rough scratchings. Base unglazed. H. 13 in., D. 44 in.

8. Bow similar to No. 7, the comb-scratchings being enclosed by a circle. Glaze
discoloured by burial. H. 12 in., D. 42 in. (PLATE 4.)

9. Bow1, cone-shaped, with slightly rounded sides, small foot-ring. Glaze much
crackled, the veins being stained to a reddish hue. Horizontal incised line
inside. Base unglazed. H. 1? in., D. 4} in. .

10. SHALLOW Bow1, with small foot-ring ; the rim cut by slight notches into six
lobes. Inside, formal flowers and dotted scrollwork. Base unglazed. H. 2 in.,

D. 64 in. (PLATE 38.)
11. Dish with flat bottom and slanting sides. Inside, rough scrolls. Rim unglazed.
H. $ in., D. 33 in. (PLATE 4.)

12. DisH, circular, with curved sides, incised underneath with radial lines roughly
corresponding with ribs on the upper surface, by which it is divided into six
lobes ; narrow lip, indented with six slight notches. The base countersunk and
bare of glaze, showing reddish surface. H. 1 in., D. 42 in.

13. Dis; circular, with flat bottom and slanting sides. In the middle, a spray of
plum-blossom. Rim unglazed. H. { in., D. 34 in.

(c) With relief decoration.
los. T4—I8. "

The method by which this decoration has been effected is not
easy to determine with certainty. None of the pieces show

INDIGENOUS COREAN WARES ay

unmistakable traces of the use of an intaglio ‘mould. In most
cases the relrefs appear to have been applied in white slip, after-
wards worked up with a brush or a pointed instrument ; in some
cases they may have been produced by graving away the surround-
ing surface. The reliefs, being only slightly covered with the glaze,
stand out in a light tone contrasting with the darker tone assumed
by the glaze where it is thickly pooled in the hollows.

14. DisH, with flat bottom and slanting sides. Inside, two fishes amidst lotus-
flowers within a row of overlapping lotus-petals below a border of key-pattern.
' Rim unglazed. H. # in., D. 4 in. (see p. 7). (PLATE 4.)

15. PiGMENT-Box AND Cover. Formal chrysanthemum design. ‘The glaze on the
box ends in an irregular line round the sides, leaving bare the base ; both box
and cover partially glazed inside. H.12in., D. 2h in. | - (PLATE 3.)

16. PiGMENT-Box anD Cover. © On the cover, a branch with spotted peach-shaped
fruit and feathery leaves. Inside of box and cover partially glazed, base unglazed.
H. 14.in., D. 2 in. (PLATE 3.) °

17. PIGMENT-BOx AND CoveR of the same form as No. 16. On the cover, a spray
with a six-petalled flower. Sides of box and cover fluted. Inside of both
partially glazed, base unglazed. H. 1 in., D. 13 in.

18. Bow 1 with rounded sides and small foot-ring. Inside, on the bottom, a single
plum-blossom in relief; glaze of pronounced bluish tone covering the entire
surface, including the base and foot-ring, with the exception of a band round the
mouth. H. 1? in., D. 33 in.

B

MINIATURE PIECES, apparently intended for toys.
Nos. 19—28.

These are of white porcellanous ware, thick, relatively coarse,
and non-translucent, with uneven bluish glaze similar to that of
the preceding class. Traces of the sandy grit upon which they
were supported in the kiln adhere to most of them. The base of
all is flat, without projecting foot-ring. }

19. Vasz. H. 2 in., D. 12 in. (PLATE 3.)
20. RicE-BowL with fixed Cover. H. 2 in., D. 1% in. (PLATE 3.)

21. Bowt, cylindrical, the sides furrowed with horizontal wheel-marks. H. r4 in,,
D. 13 in
. 8 ad

26 CATALOGUE

22. Cup,,conical, with broad base. H. # in., D. 12 in.

23. Cup, similar'to No. 22. H. 2 in., D. 13 in.

24. SaucER, with slightly sunk middle, on foot. H. $ in., D. 1§ in.
25. Saucer, similar to No. 24. H. $ in., D. 1{ in.

/

26, Piare with slightly sunk middle and broad base. H. 2 ini, .D. 2: in:

27. SHaLLow Bow1 with slightly outcurved rim. H. 1 in., D. 23 in.

28. FisH-BowL with low rounded sides curving inward at the rim. ‘The glaze grey,
without the bluish tone of the pieces described above. H. ? in., D. 13 in.

C
Earty KORAI PORCELAIN of uncertain date.
Nos. 29—31.

29. DisH, circular, with curved expanding sides and small foot-ring. An incised
circle in the middle and another half an inch from the rim. Rim unglazed, base

glazed. Slightly translucent. H. 13 in., D. 6$ in.

30. Bowr. Rounded sides outcurving at the mouth, high foot-ring. ‘The interior
decorated by means of a comb with scratches representing water. Base unglazed.

Slightly translucent. H. 34 in., D. 6} in. PLP LATE)

31. DisH, with small foot-ring ; the rim ten-lobed, a small boss in the centre, from
which radiate incised curved lines forming compartments filled with rough scroll-
work. Glaze of greyish tone. Base unglazed. Opaque. H. 1# in., D. 6$ in.

. (PLATE 5.)

D

(i) PorcELLANous cELADoNS with heavy, hard. ash-grey body,
reddish on the surface where exposed, and quite opaque, even
where the walls are thin, covered with a thick jade-like glaze
varying in tone from the bluish-green of the majority to greenish-
brown or grey. In some cases the glaze is much more translucent
and fluid in appearance than in others (see p. 10).

(a) Undecorated.
Nos. 32—39.

32. Winz-por, wirH Cover in the form of a shallow bowl with pillar-like knob
rising in the middle and loop for attachment of a cord corresponding with another
loop on the handle. Eight-sided spout, flat base partially glazed. H. 93 in.,
D. 94 in. : (PLate 6.)

33

34

ASS

39

40

43

INDIGENOUS COREAN WARES “aF

It is perhaps by no accidental coincidence that the shape nearly resembles
that of the bronze tea-pots used for the tea-drinking ritual in Buddhist monasteries
in ‘Tibet to the present day ; in China, on the other hand, it does not appear to
occur,

. WinE-Por, wirH Cover fitting down over the short tubular neck and drilled
with two holes for a cord of attachment. Eight-sided spout, broad reeded handle ;
slightly hollow base with several spur-marks. _H.9 in.,D.7}in. (PLare 7.)

. Cup Anp Sranp. Cup with rounded bowl divided by vertical lines running
down from notches in the rim into six slight lobes ; high foot. Stand similar in
general form to that of No. 5, with six slight notches in the rim. Cup: H. 21} in.,

Ds 4h iin.:; ‘stands; H.2 iny, Di6:in. (sep. 5).

. O1-Borre of flattened globular form, with short narrow neck and cup-shaped
mouth. Base glazed only in the middle, three sand spur-marks on the foot-ring.
H. 24 in., D. 34 in.

. OlL-BoTrLe, similar in form to No. 35. Sand-marks on the base, the glaze
slightly discoloured by burial. H. 1? in., D. 3 in.

. FisH-BowL with broad base and low rounded sides curving inwards at the rim.
Under the base, a heavy patch of glaze within an unglazed circle. ‘Ten spur-
marks on the foot-ring ; firing scars on the sides.. H. 2} in., D. 9 in. (see p. 5).

{

. Bow1, hemispherical, with small foot-ring within which are three spur-marks.
‘The glaze externally corroded by burial. H. 3 in., D. 74 in.

- BowL, cone-shaped, with small foot-ring within which are three spur-marks.
Slightly distorted in firing. H. 2$ in., D. 63 in.

(6) With incised or carved decoration under the glaze.
Nos. 4o—64. .

. Vase with fluted body, scalloped line incised round the shoulder. Glaze shading
downwards from greenish-brown to greyish-green. Base unglazed, with sand-
marks. H.1of in, D.6in. (PLATE 6.)

. Borris, with small ring projecting from the neck, probably for a cord to fasten
a cover or stopper now missing. Round the neck, sceptre-head ornament (in
Chinese ju-/); below, three lotus-plants above a border of overlapping leaves.
Base only partly glazed, with sand-marks. Lower part of body discoloured by
burial. H. 12$ in., D. 53 in. (PLaTE 8.)

. WinE-pot and Cover in the form of a sprouting bamboo. On the top of the
handle, three small leaves from which rose a loop (now missing) for a cord,
corresponding with another loop on the cover. On the base, just within the
unglazed foot-ring, six sandy spur-marks. H. ro in.; W. 10 in. (see pp. 5, 12).

(PLATE 9.)

. WineE-juc with reeded handle; spout restored at the tip with gilt lacquer. A

deeply-incised palmette on either side. Sand-marks on base. H. 82 in., D. 7 in.
. (PLATE 10.)

28

44.

45.

46.

47.

48.

49.

50.

52.

53°

CATALOGUE

BorrLe with barrel-shaped body, flat unglazed base, narrow concave neck and
spreading mouth. QOn the body, avery delicate design of lotus-flowers and foliage
faintly discernible beneath the somewhat opaque glaze, which on one side is
completely destroyed, leaving the paste bare, owing probably to the effects of
water entering the tomb. H. 74 in., D. 44 in.

The body of this piece is noticeably less heavy for its size than the average.

Cur anp Stanp. ‘The cup undecorated, the stand incised with a delicate
pattern of radial lotus-petals surrounding the central boss, and with lines bordering
the five ju-2 shaped feet, one of which is missing. Four spur-marks underneath
the stand, three on the foot of the cup. Cup: H. 24 in., D. 3} in.; stand:
Hye Any, Ds 34-in. (seep: 5): (PLATE 11.)

Cup anpD STanp, eight-lobed. Outside the cup, lotus-sprays; on the saucer,
pendant petals carved round the socket, cloud forms on the rim. ‘Three spur-
marks within the foot of the stand. Cup: H.2}in., D.2$in.; stand: H. 2 in.,
D. 5 in. (PLATE 12.)

Cup with narrow border of key-pattern round the rim outside. Base partly
unglazed, with sand-marks. Glaze on one side discoloured by immersion.

Fe atin SD, 2 an: (PLATE I1.)

Cur. Outside, roughly-drawn chrysanthemums ; inside, a single plum-blossom
in the midst of a wicker-like pattern probably intended to symbolise waves.
Three spur-marks of sand on the unglazed foot-ring. ‘The interior pattern
seems to have some relation to the design well known on Chinese porcelain of
the Ming dynasty, of plum-blossoms floating on a torrent. H. 24 in., D. 3? in.
($e: Poa). (PLATE I1.)

FisH-BOWL: with design outside of a group of willows and other aquatic plants
growing out of water, separated by two pairs of crested birds swimming (probably
mandarin ducks) from a group apparently of lotus-plants ; sceptre-head (in
Chinese ju-7) ornament round the mouth. Base heavily glazed except a bare
circle within the foot-ring, which is also unglazed and shows seven spur-marks.

H. 4% in., D. 10% in. (see pp. 5,6). . (PLATE 7.)

VESSEL, probably a spittoon, with three sprays of tree-peony inside and two groups
of foliage on the lower part outside. ‘Traces of spur-marks on the foot-ring.
Broken and mended with gilt lacquer. H. 4 in., D. 7# in. (PLATE 13.)

. Bowt with high rounded sides, flat slightly projecting rim, and outspreading foot-

ring. Outside, six sprays of flowers and, round the top and foot, a narrow border
of key-pattern ; a large group of flowers and foliage within a medallion inside on
the bottom. Four spur-marks in the middle of the base and six near the foot-
ring. Slightly misshapen in the kiln. Cracked and mended with gilt lacquer.
H. 3} in., D. 64 in. ‘

Bow1, shallow, with slightly rounded sides, distorted in firing, and small foot-
ring. Inside, a net-like wave pattern. H. 1 in., D. 64 in.

Bow1, cone-shaped, with small foot-ring ; plain except for an incised horizontal
line below the rim inside. H. 12 in., D. 54 in.

54.

56.

57:

58.

59:

60.

S201,

62.

63.

64.

INDIGENOUS COREAN WARES ag

BowL,. divided by deeply-scored fluting into six lobes, with horizontal line incised
below the rim inside. Sand-marks within the foot-ring. H. 2 in., D. 5 in.

(PLATE 19.)

. Bowr with slight external vertical fluting traversed by a deeply cut pattern of

overlapping lotus-petals.. On the base, three spur-marks surrounding a small
impressed circle. Cracked and mended with gilt lacquer. H. 3 in., D. 64 in.
(PLATE 14.)

Bowz similar in form and décoration to No. 55, but of finer quality and lacking
the impressed circle under the base. ‘The pattern less deeply cut and the glaze
of bluer tone. H. 3 in., D. 63 in. (see p. 12).

Bow. of extraordinarily fine quality, with rounded sides and small. foot-ring:
Decorated inside with a delicately engraved design of three birds with parrots’
heads and long wavy tails flying amongst clouds; on the bottom, a group of
flowers. Four spur-marks on the base. H. 34 in., D. 68 in. (see pp. 6, 12).

Bowt similar in form and decoration to No. 57, but less finely executed ; the rim
slightly out-turned. Above each bird is a small flower, below it a cloud. Three
large spur-marks on the base, and a flaw in which the glaze has developed the
colour of the iridescent “dead-leaf ” brown of the Chinese. H. 34 in., D. 63 in.

(PLATE 15.)

SHALLOW Bow1, decorated inside with-birds similar to those on No. 57. Three
spur-marks on base. The glaze slightly decomposed by burial. H. 24 in.,
D. 8 in. (see p. 6). (PLaTE 16.)

The body is unusually heavy. A portion has been broken from the side of
the bowl and somewhat clumsily refixed by luting at the time of manufacture,
before the.bow] was glazed.

Bow1, shallow, with design inside similar to that on No. 52, with the addition of
three fishes swimming amongst the waves. ‘Three spur-marks on the base. Of
very fine quality. Broken and mended with gilt lacquer. H. 2} in., D. 63 in.
(see pp. 7, 12). (PLaTE 17.)

Bowt with floral design inside. The glaze of unusual dark olive-green tone.
Four spur-marks on the base and foot-ring, which is nearly bare of glaze.

thee in. Digs in, (PLaTE 18.)

SAUCER in the shape of a shallow bowl, with design inside of formal ftowers within
a medallion. Small foot-ring, on which are three spur-marks. Chipped and
restored in gilt lacquer. H. 14 in., D. 6 in. (PLATE It.)

PIGMENT-BOx AND Cover, circular, glazed inside and outside. The flat top
of the cover, decorated with a floral spray, is enclosed by a convex moulding on
which is a pattern of delicate scrollwork. Four sand-marks on the base.
H. 1} in., D. 23 in.

Bowt with rounded sides and high spreading foot-ring. The outside indented
with five short vertical lines so as to produce perceptible corresponding ribs on

30 CATALOGUE

the interior, which is further decorated with ‘a circle incised on the bottom.
Four sand-marks on the foot-ring. H. 32 in., D. 6$ in.

‘The material and technique are coarser than those of the remaining pieces
of this section, indicating probably a different place of origin and possibly a later
date. The glaze is of pronouncedly green tone.

(c) With decoration in relief produced by forming on a mould.
The depressions caused on the reverse side of the vessels by pressing
them into the hollows of the mould are distinctly perceptible.

65.

66.

68.

Nos. 65—68.
Bowt. Inside, flowers in relief below an incised line. ‘Three spur-marks on
the base within the small foot-ring. H. 3 in., D. 74 in. CPLA 19, )

Bow.. Inside, formalised pomegranate-flowers and foliage. ‘The glaze slightly
decomposed by burial. ‘Three spur-marks on the base within the small foot-ring.
H, 23 in., D. 7% in. (PLATE 20.)

. Bow1, cone-shaped. Inside, relief design of tree-peonies much blurred in the

process of removal from the mould; sand-marks on the base within the small
foot-ring. H. 24 in., D. 6 in. (PLATE 21.)

Bow. Inside, four small floral sprays in blurred relief round a central eight-
petalled flower. The bluish-green glaze has developed at one point a large blotch
of dark brownish-green ; on the outside much of the glaze has perished through
burial. Sand-marks on the foot-ring. H. 24 in., D. 6 in. (PLATE 36.)

It is difficult to determine with certainty, particularly in the case of the
central flower, whether the reliefs have been produced by moulding or by the
slip process described in § h below (p. 34).

(7) With decoration in relief, moulded as in the last Section, with

69.

70.

the addition of incised details.
No. 69.

SHaLLow Bow1 with spreading sides. Inside, a large conventional lotus in reliet
outlined and supplemented by incised lines. Six radial lines are deeply incised on
the outside, corresponding with notches which divide the rim into lobes, and
producing ribs which traverse the relief decoration on the interior. “Three spur-
marks on the base within the small foot-ring. The crazing of the glaze stained
brown with burial. H. 2} in., D. 72 in. (PLATE 21).

(e). With mzshima decoration, inlaid under the glaze in white.
Nos. 70—72.

Bowt with curving sides and small foot-ring. Inside, branches of spotted fruit
below a scroll border. Outside, two horizontal lines just below the rim. _ Foot
partially bare of glaze. “Three spur-marks within the small foot-ring. H. 3§ in.,
D. 7% in. (PLATE 22.)

is

oye

INDIGENOUS COREAN WARES 31

PIGMENT-BOX AND Cover. On the cover, a chrysanthemum spray within three

_ concentric zones separated one from another by pairs of lines with tiny dots

between them, the zones filled respectively with (1) chrysanthemum sprays,
(2) detached chrysanthemums, alternately enclosed within circles, (3) small |
circles ; a key-pattern border outside all, and again, with chrysanthemum sprays
at equal intervals below it, round the edge of the box. Three spur-marks

within the slightly-projecting foot-ring. Glaze partly decomposed. H. 1,2, in.,

D: 24 in. (PLATE 24.)

SHALLOW Bow1 with curving sides, small foot-ring and deeply sunk base. Inside,
three formal rayed single flowers equally spaced between a double horizontal line
and a central double circle. The glaze slightly decomposed by burial. Sand-
marks on the base and foot-ring. H. 24 in., D. 72 in. ;

(f) With mishima decoration inlaid under the glaze in white and

Wa:

74:

70.

dark greenish-brown or black.

Nos. 73-95.

VAsE, decorated with a goose and two lotus-flowers with leaves. Mouth restored
in gilt lacquer. Base glazed. Five large spur-marks within the foot-ring.
H. 12 in., D. 74 in. (see p. 6). (FRONTISPIECE. )

Cup with key-pattern border and four single chrysanthemum-flowers at equal
intervals, “Ihree spur-marks on foot-ring, which is only partially covered with
glaze. Repaired with gilt lacquer. H. 33 in., D. 3} in. (PLATE 22.)

. O1-BorrLe decorated with four cranes flying at equal intervals amongst a diaper

of clouds. Round the foot a border of lotus-petals. “Three spur-marks on foot-
ring. Glaze partly destroyed by burial. H. 24 in., D. 3% in. (see p. 6).
(PLATE 24.)

PIGMENT-BOxX AND Cover. On the cover, a circle intersected by four arcs, with
a chrysanthemum and leaves in each of the five compartments so formed ;
beyond the circle four incised devices (without inlay) at equal intervals. Three
spur-marks on the base. H. 14 in., D. 32 in. (PLATE 23.)

. PIGMENT-BOx AND Cover. On the cover, a flower within a double circle

surrounded by three cranes flying amongst clouds; a lotus-petal border on the
bevel. Key-pattern round the sides, ‘Three spur-marks on the base. H. 14 in.,

D. 3} in. (PLATE 23.)

. PIGMENT-BOX AND Cover. In the middle of the cover are two cranes flying

within a double circle, beyond which is a zone bordered by dots with four other
cranes at equal intervals amongst clouds. Key-pattern borders, and on the lower
part of the box a row of dots in circles. Only one apparent spur-mark on the
foot-ring, which is only partly covered with glaze. H. 2 in., D. 2% in.

. (PLATE 24.)

32
79:

80.

St.
82.

83.

84.
85.

86.

87.

88.

go.

CATALOGUE

SMALL Disu. Inside on the bottom, a chrysanthemum within a double circle
surrounded by four cranes flying amidst clouds; round the sides, four pairs of
ducks swimming, at equal intervals, with growing reeds between. Outside,
four chrysanthemums alternating with butterflies, with borders of fret-pattern
above and circles below. Three spur-marks within the foot-ring. H. 14 in.,

Daan, (PLATE 23.)

SMALL DisH with flat bottom, without foot-ring. Inside, a central flower in a
double circle, on the sides, six similar flowers. A border of fret-pattern round
the outside. Five spur-marks on the base. H. 14 in., D. 44 in. (PLATE 24.)

Sma. Disu similar to No. 80, with only three spur-marks. H. 14 in., D. 43 in.
Smat_ DisH similar to No. 81. H. 1} in., D. 44 in.

Sma Disu similar in form and decoration to No. 80, except in having only five
flowers round the side and three spur-marks. H. 14 in., D. 4 in.

Sma Disu identical in form and decoration with No. 83. H. 14 in., D. 4 in.

DisH with low curving sides and small foot-ring. Inside are two characters,
indicating the sixth year of a cycle, in black; beyond, two fishes in water,
conventionally rendered. Outside, four chrysanthemums, each in the middle of
an oblong panel. H. 18 in., D. 54 in. (see p. 7). (PLATE 24.)

DisH with fluted sides. Inside, on the bottom, a single chrysanthemum flower
within a double circle enclosed by a row of ju-i sceptre-head devices ; outside,
vertical panels enclosing each three small flowers. Three spur-marks within the
foot-ring. H. 12 in., D. 34 in. (PLATE 24.)

Bow. with curving sides and small foot-ring. Inside, flowers of conventional
lotus type, each in a double circle below a scroll border ; outside, two horizontal
lines. Three spur-marks within the foot-ring. H. 3 in., D. 73 in. (PLATE 25.)

Bow of the same form as No. 87, with similar design inside, except in the
character of the flowers, which suggest plum-blossom ; a tiny chrysanthemum
flower in the centre. Outside, four chrysanthemum sprays at equal intervals
below Horizontal lines. ‘The glaze has for the most part turned to a brownish-
green tone. ‘Three spur-marks within the foot-ring. H. 34 in., D. 73 in.

(PLATE 25.)

Bow., shallow, with curved sides and small foot-ring. Inside, four chrysanthe-
mum sprays set at equal intervals around a central single chrysanthemum, each
within a double circle; below the rim, a border composed of a continuous
foliated stem between horizontal lines. Two horizontal lines outside. “Three
spur-marks within the foot-ring. H. 2 in., D. 7} in.

Bow of the same form as No. 87. Inside, in white only, set at equal intervals
round the sides below a narrow formal border, four sprays, each with five spotted
fruit, Outside, at equal intervals, with a double horizontal line above and below,
four chrysanthemums, in white with black foliage, each within a double circle.
Three spur-marks within the foot-ring. H. 3} in., D. 8 in.

INDIGENOUS COREAN WARES ay

91. Bowt similar in form to No. 89, the decoration the same as that of No. 90, with
the exception that the sprays bear each three fruit only, and with the addition,
inside, of a chrysanthemum within a double circle in the middle, and outside, of
four chrysanthemums below the lower horizontal double line, set quarterly below
the intervals between the chrysanthemums of the upper range. ‘Three. spur-
marks within the foot-ring. ‘This bowl is exceptional in being almost bare of
glaze under the base and foot-ring. H. 23 in., D. 6% in.

92. Bow similar in form to No. go. — Inside, pairs of fishes, in four medallions on
the sides and within a ju-i head border in the middle. Outside, four chrysanthe-
mum sprays, each within a double circle, set quarterly above a row of vertical -
petals recalling the egg-and-dart of classical art. The glaze on the interior is of
strong brownish tone. Three spur-marks within the foot-ring. H. 34 in,

D. 8 in. (see p. 7). (PLATE 26.)

93- Bow1, twisted in firing. Inside, below a narrow border of hatched lines simulating
wickerwork, is a composition of ducks, willows, and reeds similar to that of
No. 95, but differently treated ; in the centre two characters, as on No. 85,
within a border of radial lotus-petals. Outside, chrysanthemums in circles
between borders of wickerwork and lotus-petals. Sand-marks within the foot-
ring. ‘The glaze on the outside mostly destroyed by burial. H. 2¢ i. lse7 1:
(see p. 6). (PLATE 26.)

94. Bow of the same form as No. 93, with identical decoration, except that pairs
of ducks take the place of single ducks on the inside; the details are varied in
execution. Much of the glaze on the exterior has been destroyed by burial.

H..22an.; D. 7% in,

95. Bowt, with small foot-ring. Inside, a frieze of weeping willows, reeds, and
swimming ducks, all highly conventionalised, above ju-i head devices, Outside,
two double horizontal lines. Sand-marks within foot-ring. H. 24 in., D. 74 in.

(see p. 6). (PLATE 27.)

(g) With mzshima decoration in white, combined with »relief
decoration produced by pressing in a mould.
Nos. 96—98.

96, 97. Two Disues from the same mould and identical in decoration ; with high
foot-ring, fluted vertical sides, and flat rim. Inside, fruit and leaves within ju-i
sceptre-heads, in relief; outside, a row of formal floral sprays, inlaid, separated
by incised vertical notches. Three spur-marks within the foot-ring. ‘The glaze
on No. 97 is shaded from geeenish-blue to olive-green, being partially decomposed
mr by burial. H. 1$in., D. 54 in. (PLaTE 16.)

98. Disx, octagonal, with slanting sides. Inside, a wreath in the middle and flowers
in panels round the sides in relief, only faintly perceptible under the thick glaze.
Outside, chrysanthemums in panels, inlaid. H. 14 in., D. 43 in. (PLATE 24.)

In this case it is difficult to make certain whether the reliefs are produced
_ with a mould or by painting in slip under the glaze.

D

34. CATALOGUE

(4) With relief decoration produced by painting in white slip,
“combined with inlaid decoration in white, all under the glaze.

No. 99.
99. BowL, with interior relief design in slip of three little boys sporting amongst
- formal lotus-Aowers and foliage below an inlaid scroll border ; a lotus-flower in

relief at the bottom. Three spur-marks within the foot-ring, which is glazed.
H. 23 in., D. 73 in. (see pp. 7, 12). (PLaTEs 28, 35:)

(‘) Painted under the glaze (Yegoraz) in brown only (see p. 1 I).

Nos. T0OO—I0}.
100. WiNnE-por AND Cover, eight-lobed ; reeded handle with a small loop for a
cord corresponding with a similar loop on the cover. On each alternate lobe is

painted a spray of foliage. Base thinly glazed. H. 7} in., D. 8 in.
(PLATE 29.)

1o1. O1L-BOTTLE, painted with two leafy sprays. Spur-marks on foot-ring.
@

P.'3"in,, DD. 3} in, (PLATE 30.)

102. O1L-BorrLE, painted with three leafy sprays. Sand-marks within foot-ring.
Fu, zn: 1.125 10. (PLATE 30.)

103. Om-Borr_e similar in form and decoration to No. 102. A scroll painted on
the base. Spur-marks on foot-ring, which is partly glazed. H. 2% in., D. 24 in.

(/) Painted under the glaze (Yegéraz) in brown and white slip.
No. 104.

104. Dis with slanting sides, with detached plum-blossoms thickly painted in
perceptible relief, four inside, three outside. Sand-marks on foot-ring. H. 13 in.,
D. 44 in. (PLATE 30.)

(ii) CELApoNs with coarse red earthenware body, covered with a
thin crackled glaze, generally opaque, ranging from greenish-grey

to greenish-buff (see p. 12).

(2) With inlaid mishima decoration in white clay.
No. 105.
105. JaR with band of leafy scrollwork below a row of lotus-petals. Glaze

decomposed in places. Base partially glazed. H. 8% in., D. g} in.
(PLATE 31.)

INDIGENOUS COREAN WARES 35

(6) With decoration painted under the glaze (Yegéraz) in thick dark

greenish-brown slip.
Nos, 106—107.

106. Vask, with three conventional pomegranate sprays on the body and wavy petal-
like design round the shoulder. Base unglazed. H. 11} in., D. 64 in. (see p. 6).

The body is noticeably light in weight. (PLATE 22.)
107. VasE, with two sprays of scrolled foliage. Base unglazed. H. 103 in,
D. 64 in. ee (PLATE 33.)
E

EARLY STONEWARE with opaque body and pearl-grey glaze border- —
ing on celadon, over inlaid méshima decoration in white clay

(ee t's).

TG ey, Lm i

108. Bow1, inlaid inside with a conventional chrysanthemum enclosed by zones of
closely-set flowers ; outside, horizontal lines confining a similar zone of flowers,
two deep. Foot-ring unglazed. H. 3} in., D. 6% in. (PLATE 34.)

109. Disx, with small foot-ring and vertical sides. Inside, a chrysanthemum within
zones of closely-set flowers. Outside, four horizontal lines, Base unglazed,
with three spur-marks on the foot-ring. H. 14 in., D. 44 in. (PLATE 24.)

110. DisH, with foot-ring and curving sides. Inside, a chrysanthemum with a cross
in its centre within a zone of closely-set flowers. Base unglazed.- A fragment
of the support used in the kiln adheres to the foot-ring. H. 1} in., D. 43 in.

(PLATE 24.)

111. Disu, circular, with small foot-ring and curving sides. In the centre, an inlaid

spiral. Glaze impaired by burial. Base unglazed. H. 14 in, D, 4 in.

iB

HEAVY WHITE PORCELAIN of coarse body, non-translucent, covered
with a crackled, very thick, translucent glassy glaze of bright
celadon-green colour (see p. 13).

No. 112.

112. Disu, circular, on medium-sized broad foot-ring, within which the base, which
is transversely furrowed, is unglazed, showing a greyish-white surface. The
glaze has run down in thick drops only partially covering the outside of the foot-
ring. H.1}in., D. 64 in. (PLATE 35.)

36 CATALOGUE
* | G
‘Harp ware, with reddish body, covered with a crazed greenish-

grey glaze, without decoration (see p. 13).
No LE

113. Bow, cone-shaped, with small base and broad flat foot-ring nearly bare of glaze,
on which are four spur-marks. H. 24 in., D. 64 in.

H
BRowN-GLAZED WARES of indeterminate date (see p. 13):
Nos. 114—116.

114. Urinat, soft red earthenware, covered with a very thick transparent blackish
olive-green glaze. Handle in the form of a long-tailed animal standing astride
the vessel and biting the rim of the spout. ‘The top of the vessel incised with
horizontal rings, the base only partly covered with glaze. H. 6 in., D. 73 in.
(see p. 13). (PLATE 2.)

_ This may be compared with early Chinese vessels of similar use and form
figured by Laufer, Ch P H D, pl. xxvi.

115. Jar, hard greyish-buff earthenware, covered inside and partially outside with a
dark greenish-brown glaze, which stops short in an irregular line, leaving the
base bare. H. 34 in., D. 5 in. (see p. 13). (PLATE 37.)

116. Bowt, hard red earthenware, covered inside and partly outside with a thick
dark greenish-brown glaze, stopping short in a wavy line so as to leave bare the
lower half and base. Shallow foot-ring. H. 1% in., D. 48 in. (see p. T4).

\

PART II.—WARES OF UNCERTAIN ORIGIN, COREAN
_\OR-GHIN ESE’

§ IL—* MARBLED ” WARE

The body is fashioned from a mass composed of shreds of dark and
light clay pressed together. Known in Japan as zeriage (see p. 19).
No. 177. :

117. Bowt with flat base. Composed entirely of grey and white marbled ware
except for a band of plain white round the top. Covered with a cream-coloured
glaze, minutely crazed, which has been partially destroyed on the outside by
burial. H. 24 in., D. 5 in. (PLATE 36.)

§ I—BROWN-GLAZED WARES
Akin to the Chinese type known in Japan as femmoku.

A

WHITE PORCELAIN with lustrous warm brown glaze clouded with
purple and dark olive-green, known in Japan as Aakigusuri, probably
dating from the period of the Chinese T’ang dynasty (618—g07)

isee p. 1%). |
No. 178.

118. SHaLtow Bowr with small foot-ring, with Sranp having a convex socket,
projecting rim, and high cylindrical foot-ring.- The glaze partially destroyed by
burial. ‘The foot-ring of both pieces unglazed. Bowl: H. 1¢in., D. 44 in. ;
stand: H. 24 in., D. 44 in. (PLaTEs 37, 38.)

B

WARE WITH GREYISH-BROWN Bopy and “ dead-leaf” brown glaze
partly covered with an upper glaze of dark treacle-brown (see p. 15).
Nos. 179, 120.

119. Bow with small foot-ring. Dark brown glaze covering the inside and the
upper part outside; light brown glaze below, ending in an irregular line, leaving

37

38 ' CATALOGUE

f
the foot and base bare. The unglazed part shows marks of a sharp instrument
with which the bowl has been shaped off by hand. H. 1 in., D. 42 in.

(PLATE 37.)
120. Bow. with high foot, below which there is a shallow depression. Similar in
extent and colour of glaze to No. 119. _H. 1§ in., D. 44 in. (PLATE 37.)

C

WARE WITH PALE BUFF-COLOURED BODY and lustrous black and
brown mottled glaze (see p. 15).
Nos. 121, 122.

121. Borrte with wide unglazed foot-ring. Glaze black, running down in cloudy
streaks over brown. Mouth filed down. H. 6 in., D. 5 in. (PLATE 37.)

122. Bow with slightly curving sides, expanding mouth, and small foot-ring. Glaze
lustrous brown, mottled inside with black so as to resemble a tiger’s skin ;
outside, it stops short in an irregular wavy line, leaving bare the foot. Sand-
marks on foot-ring. H. 1{ in., D. 44 in. (PLATE 37.)

§ III.—UNCLASSED. EARLY WHITE WARE
No. 123.

123. Bow of thin cream-coloured porcellanous ware, with slightly curved sides and
small deep foot-ring. Traces remain of a finely-crackled glaze which appears
originally to have been of a slightly bluish tone, but is now stained with brown.
The rim is mounted with a modern silver band. H. 2% in., D. 64 in.

(PLATE 39.)

It is said that the bowl has passed through a fire since its manufacture ; the
bubbling of the glaze in the inside suggests this. [he technique’ points to an
early date, perhaps contemporary with the Chinese T’ang dynasty (618-907) ;
the body differs essentially from the various types of Ting ware (see p. 16).

§ IV.—WHITE PORCELAIN
Analogous with Chinese Ting ware (see p. 16).

A

WITH WHITE OPAQUE BoDY, brownish on the surface where not
covered with a minutely-crazed cream-coloured glaze, undecorated ;

perhaps earlier than the Korai dynasty (see p. 17).

WARES OF UNCERTAIN ORIGIN | 39
Nos. 124—I27.

124. PIGMENT-BOx AND Cover. H.1 in., D. 2 in. (PLATE 40.)
125. PIGMENT-BOx AND Cover, similar to No. 124. H.1 in., D. 2 in.
126. PIGMENT-BOxX AND Cover. H. 1} in., D. 13 in. (PLATE 40.),

127. PIGMENT-BOX AND Cover, similar to No. 126. H. 1} in., D. 12 in.

B

HEAvy opaque Bopy, brownish on the surface where exposed,
with dead white glaze, perhaps pre-Korai.
No. 128.

128. Box anp Cover with applied button on the top, from which radiate six incised
lines carried down the sides to the base, which is bare of glaze and slightly
concave. ‘There isa short incised mark carried across from the box to the cover
where they join to indicate how they should be fitted together. H. 38 in.,
D. 3} in. (PLATE 40.)

a

WARE WITH OPAQUE OR ONLY SLIGHTLY TRANSLUCENT BoDy, of
the “earthy” type known in China as fu Ting (see p. 18).

(2) Undecorated.
No. 129.

129. Bow with rounded sides and small foot-ring. Ware slightly translucent. The
whole except the edge of the rim covered with dull creamy glaze. H. 3 in.,

D. 84 in.

(6) With incised or carved decoration.
Nos. 1370—I}2.

130. WINE-Ppor AND Cover, with handle in the form of three stems bound together,
ending in formal flowers. The body divided by short incised strokes .into six
slight lobes. Ware opaque. Creamy glaze with faint greenish-brown tint.
H. 6 in., D. 48 in. (see p. 18). (PLATE 41.)

131. Bowc with rounded sides and small foot-ring. Carved lotus-bud and leaf in the
middle ; radial lines in very slight relief. Ware opaque. Greyish glaze with
“‘tear-stains”; the edge of rim bare of glaze. H. 2? in., D. 83 in. (see p. 17).

| (PLATE 42.)

132. Bowi with rounded sides and small foot-ring. Incised lotus-flower inside.

Opaque ware. Greyish glaze ; the edge of rim bare. H. 1} in., D. 33 in.
(PLATE 40.)

yi eae = CATALOGUE
D

WITH FINE TRANSLUCENT Bopy, of brownish tone by transmitted
light, and warm cream-coloured glaze, of the type of the Chinese
pai Ting : if of Chinese origin probably made at Ting-chou before
the removal of the kilns southwards about 1126—7 (see p. 18).

(2) Undecorated.
No. 133.
133. Bow. with rounded sides and small foot-rim. ‘ Tear-stains” on glaze; edge
of rim bare of glaze. H. 1§ in., D. 3% in. (see p. 18).
(6) With incised decoration.
' Nos. 134, 135.

134. Bowr. Inside, four wavy radial lines with “claw-marks” between. Outside,
oblique deeply-scored grooves stopping short at an incised line below the mouth.
Base and foot-ring bare of glaze. Gilt lacquer repairs. H. 2} in., D. 4§ in.

(see p. 18). (PLATE 42.)
135. Bow. with rounded sides ; small foot-ring ground down, base partly bare of
glaze. Lotus-spray inside. H. 1$in., D. 3% in. (see p. 18). (PLATE 40.)

(c) With painting in thick white slip under the glaze.
No. 130.

136. Bow with rounded sides and small foot-ring. Conventional flowers inside.
“ Tear-stains ” in glaze on outside. Base and foot glazed, edge of rim bare.

Pe oir Di eee (sep. 18). (PLATE 43.)

E

CELADON PORCELAIN, perhaps of Northern Chinese origin, opaque

body, glaze of deep olive-green tone (see p. 18).

(2) With incised decoration.
No. 137.

137. Bow, wide cone-shaped, with spreading mouth and small broad foot-ring which
has been ground down, partially removing the spur-marks. Inside, deeply-cut -
rays resembling chrysanthemum-petals, around an engraved rosette in the middle.
Broken and mended with gilt lacquer. H. 2 in. D. 6 in. (PLATE 44.)

WARES OF UNCERTAIN ORIGIN 4I

(6) With decoration produced by shaping in a mould.
Nos. 138, 139.

138, 139. Two Bowts, with small foot-ring, in both cases ground down. Both —
shaped on the same mould, producing on the inside reliefs of three mandarin
ducks amongst lotus-plants and reeds, the details of the design being scratched
in witha pointed instrument, Sand-marks on the base. Each, H: 2 in., D. 44 in.

(see p. 6). (PLATE 44.)

PART III.—_IMPORTED CHINESE WARES

§L—CHIEN YAO OR TEMMOKU WARE

Made at Chien-yang in the province of Fuchien, Sung dynasty
Ksee, Da 1 5):

HARD, COARSE-GRAINED, DARK BROWN BoDY. The glaze, running
downwards from the rim, which is left bare, has collected inside
the bowls in a pool of brilliantly lustrous black, almost bluish in
tone, and externally in a thick wave of the same colour stopping
short of the foot of the bowls, which is left bare ; towards the
rim, in increasing degree, a rich yellowish-brown is apparent in
fine vertical streaks, giving the effect of the feathers on the breast
of a partridge.
Nos. 140—Z42.

140. Douste Bowt, perhaps intended as a water-pot for the writing table. The
outer bowl resembles in form Nos. 141, 142, except in having no pronounced
foot-ring, the base having merely a circular depression underneath. The
shallower inner bowl adheres by its edge to the inside of the outer, but is tilted
slightly out of the horizontal, A small \-shaped notch cut in the rim of the
outer bowl forms an opening to the cavity between the two; near the same
point a small loop rises from the surface of the inner bowl. The glaze is black,

with speckling, and near the rim clouding, of dull brown. H. 24 in., D. 4} in.
(PLATE 37.)

The very singular form of this vessel seems to be due to an accident by
which the inner. bowl became fixed within the outer before firing. The paste is
of closer consistency than that of Nos. 141, 142.

141. Bowt. H. 13 in., D. 33 in. | (PLATE 37.)

142. Bowt, similar to No. 141 ; the nas finer, but the glaze somewhat impaired.
H. 1% in., D. 334 in. (PLATE 37.)

§ I.—Tz’U-CHOU WARE

Made at Tz ti-chou in the province of Honan, Sung dynasty —
Gipe p/.19).

No. 143.

143. Vase of hard buff-coloured ware, with four loops (one of which is restored) on
the shoulder, and broad shallow foot-ring. “The lower portion and the base

42

ADDENDA tia

covered with dark greenish-brown glaze; over the remainder a thick cream-
coloured slip, upon which are painted, in dark brown, three rough leafy devices
and horizontal bands. Four spur-marks on the base. H. 108 in., D. 7 in.
” (PLATE 45.)
Vases similar in form and manner of decoration are figured in Hobson,

Ch PP, vol. i., pl. 30, Fig. 3, and Bosch Reitz, E Ch P Sc, Catalogue No. 110.

ADDENDA

THE FOLLOWING PIECES, belonging to the family of
brown-glazed wares described in Part II. Section II. (p. 37), were
received separately, too late for inclusion in the body of the
catalogue. It is difficult to decide whether these are actually
Corean, or Chinese importations. No. 144 resembles the north-
ern type of Chinese Temmoku ware from Honan province; it is
similar in the pale creamy colour of its body to Nos. 121, 122.
No. 145 has a body of deeper buff tone, but similar brown
mottling in the glaze under its base ; it may ales be from Honan,
the appearance on it of a cream-coloured reserve suggesting a
connection with the wares of Tzt-chou in that province.

144. Borris with pear-shaped body spreading out slightly at the base, long narrow
neck and flaring mouth. Pale creamy buff ware, covered with dark treacle-
brown glaze showing specks of metallic lustre resembling avanturine. At the
mouth the glaze has burned to a rich chestnut-brown, and patches of golden
brown show through the darker glaze round the waist. ‘The base unglazed.
H. 6f in, D. 34 in.

The bottle has the appearance of a piece which has failed in the firing.

145. WInE-Jjar, barrel-shaped, with shoulder contracting to a short narrow neck with
expanded mouth. ‘The body strongly marked with horizontal ribs produced
during the throwing on the wheel. Hard buff ware with thick glaze of lustrous
dark treacle-brown mottled inside the mouth and under the base with golden
brown. ‘The glaze has run down into thick drops which stand out from the
unglazed foot-ring ; some of these drops have been chipped away, leaving deep
hollows in the paste, so that the jar should stand evenly. On the shoulder is a
vertical oblong label reserved in the glaze and coated with cream-coloured slip,
over which is an inscription painted in brown (probably the name of the maker
of the wine which the jar was made to contain), reading (in Chinese) Shén sé
T’at Ho Ch'uan—* Dark colour Spring (or Source) of Prosperity and Peace.”
H..92.in., D. 7} in.

APPENDIX

STONE CHEST, of ash-grey slate, found containing porcelain vessels
in a tomb of the Korai dynasty on Song-ak-san (“ Pine-tree Phoenix
Mountain’’), behind Songdo. It is rectangular, consisting of a flat base
and lid and four loose slabs forming the walls, which were held in position
by the weight of the lid pressing them into grooves cut to receive them in
the base ; the walls are further secured from falling apart by similar
grooves in the lid and in the two end slabs. Incised outline designs of
symbolical meaning are cut in the walls, viz.: externally, the “Genii of the
Four Quarters of the Heavens,”—the tortoise or Dusky Warrior (North)
and the Red Bird (South)? on the two ends, the Green Dragon (East) and
the White Tiger (West) on the two sides; on the inside, lotus-flowers
with buds and leaves on each of the four walls. H. 124 in., L. 2 ft. 6 in.,
W. 174 in. 2 (PLates 46, 47, 48.)

The use of such chests is discussed on pp. 21, 22 of the Introduction.
The symbolical decoration finds a parallel in early Chinese custom. De
Groot (R SCh, vol. i. p. 316) quotes an authority of the Han dynasty
(B.c. 206—a.D. 220) to prove that in those days it was customary to paint
the figures of the four Genii on the coffins of persons of rank, the
intention being to idealise the dwelling of the dead as a universe in
microcosm ; he shows further that relics of the same use of these
symbols are found also during the T’ang dynasty: (618-907). A
marble sarcophagus of this latter period, intended apparently as a cenotaph
for the residence of the soul, now in the Field Museum at Chicago,
appears to be engraved with the same symbols”; it was found by

1 The Red Bird may be identified with the phoenix or “sun-bird” discussed |
on p. 6.
2 It is stated by Laufer in his description of the sarcophagus (Ch S, p. 321) that
“the four outer walls are decorated with designs . . . traced by means of a burin”;
three of these, shown in accompanying illustrations, are described respectively as a
winged dragon (twice) with the front feet of a mammal and the hind feet of a bird,
and a phoenix soaring in the clouds, “themes emblematic of death and resurrection”’;
the fourth design is neither described nor reproduced. From a comparison with our
Corean chest, it seems probable that the designs have been misunderstood and should
rightly be interpreted as also representing the Four Quarters.

44

APPENDIX Stee

B. Laufer at Si-ngan Fu, in the Chinese province of Shensi, and bears a
date corresponding with 673 a.D.

It may be noted that the snake which generally accompanies the
tortoise of the North is here wanting ; the same peculiarity is to be
remarked in a painting on the ceiling of an early Corean tomb recently
excavated near Chin-nam-pho in the province of Phyéng-an, figured in
* Chosen Kosekti Dzufuy, vol. ii., plates 164, 182.

MEMORIAL TABLET of Lord Po Chiin-min, of Chin-shan (in Corean
Keum-san, possibly the place of that name in the province of Phyéng-an),
governor (p'an-kua’n) of Hstin-lien-ytian (in Corean AuLlyin-kol in
Phyéng-an). Polished dark grey slate, with engraved inscription in
Chinese detailing the pedigree and family records of the deceased. . Dated
Ch’ung-chén III. (1630 a.p.),' eighth month. The conclusion of the
inscription reads ‘“ Respectfully composed by his great-great-grandsons
Wu-k’o and Té-tsui, and written out by his great grandnephew T’ien-tsu.”
H. 12 in., W. 132 in., 14 in. thick.

The person commemorated was possibly a Chinese official who died in
Northern Corea. Tablets of this description have been in common use
in China from a remote period to the present day. They are known as
mo cht-ming, “tomb record inscriptions,” and were laid inside the grave,
paper rubbings of them being previously taken and distributed amongst the
friends of the deceased. They were intentionally made to look like a book,
the script being in the current “square” style used in printing, and for
persons of great importance consisted not of a single tablet, but of several, |
laid one above another, like the pages of a book. They must not be
confused with the inscribed tombstone or stele set up in the monument
erected above or near the grave. Poorer persons used for the purpose
tiles or bricks with inscriptions written in ink. The history and use of
the tablets are fully discussed by De Groot, R S Ch, vol. iii. pp. 1109-1140.
Pe te ie Sg ee el) od Sas

* Le. third year of the Chinese emperor Ch’ung-chén (1628-1643), last of the
Ming dynasty. This mien-hao dating is, as often, accompanied by a cyclical date,
“51st year of the cycle.” The nearest year in Christian chronology corresponding
with this latter is 1614, which involves a discrepancy not as yet accounted for,

INDEX

“‘ Agate ware,” 19

Ajanta caves, 7, 8

Alexander Collection, 18

Alexander the Great, 8

Almanacs, decoration likened to Japanese,
Fly 12;

Arabia, 6

Arita, 20

Asia, Central, 2

Astree,.L’, 9

Bactrian art, 1, 8

Bamboo motives, 5, 6, 27

Bharhut tope, 7

Bird, Golden, 7 ; Red, 44

“Blue and white” decoration, 21

Boxes for pigments, 5, 17, 24, 25, 29,
31, 39

Boys and lotus motive, 7, 34

Brahmanist symbols, 6, 7

Bronze, analogous forms in, 13

Brown-glazed wares, 14-16, 21, 36, 37,

43

Buddha symbolised by goose, 7

Buddhas, Cave of Thousand, 6

Buddhism introduced in Corea, I ; sup-
pressed, 2

Buddhist monasteries of ‘Tibet, 27;
symbolism, 7

Burial customs, Chinese, 22, 453; Co-
srean, 3, 21

Café au lait glaze, 14

Cave of Thousand Buddhas, 6
Celadon wares, 8, 9, 18, 34, 40
Ch’ang-nan, 17

Ch’ao-hsien, 2

Chékiang province, 10
Chéng-ting Fu, 16

Ch’én Shih-i, name inscribed, 9, 24
Chest, stone, 3, 21, 44
Chicago, 44

Chien-an, 15

Chien-ning, 15

Chien-yang, 15, 42.

Chien yao, 14, 15, 42

Chili province, 16, 19

Chinese domination in Corea, 2; forms |
of vessels, 3; wares imported, 19,
40, 42

Ching, colour, 10, 12, 13

Ching-té Chén, 12, 17

Chin-nam-pho, 45

Chin-shan, 45

Chosen, 2

Chrysanthemum motives, 6

Ch’ung-chén, emperor, 45

Cisterns for fish, 5 ; water, 6

Cobalt, use of, in Corea, 20

Cockspurs, 5, 11

Coffins, Chinese, 44 ; Corean, 21

Combed ornament, 4, 9

Confucianism, 2

Cooking-vessels, 4

Copper red, 21

Corea, origin of name, 2

Corean pottery, distinctive shapes, 5

Cranes, motive, 6, 7

Cream-coloured wares, 16, 19, 21

Cupid, 8

{

Daisy form of chrysanthemum, 6
Dawn, Bird of, 7

“‘ Dead-leaf” brown, 14, 15, 29, 37
Decoration, motives of, 6
Dharmachakra, 7

Diospyros kaki, 19

Dragon, Green, 44

Ducks in design, 6, 28, 41

@Urfé, Honoré, 9

Eros, 8

Féng-huang, 6

bén Ting, 17, 18

Field Museum, Chicago, 44
Fish-bowls, 5, 26-28

Fish motive, 7

“ Five-colour ” decoration, 21
Flowers in decoration, 6
Flower-vases, 6

France, Roman ware from, 19

Fresco-painting, Corean, 2, 45; Indian,
7) §

Fuchien province, 14, 42

Fusan, 3

Gandhiara sculptures, 8
Garuda, 6

Gidgi, 4 .

Goose in decoration, 6, 7
Gourd motives, 6, 10
Graeco-Bactrian kingdom, 1, 8
Graeco-Buddhist art, 8

Hakugtrat, 7

Han dynasty, 44

Hang-chou, 18

Hansa, 7

Hare’s-fur cups, 15

Hellenistic art, 8

Hermit Kingdom, 2

Hiakusai, 1

Hideyoshi, 2, 13

Higo province, 13
Hispano-Moresque ware, 20
Hizen province, 20

Honan province, 15, 19, 42, 43
Horit-ji, Nara, 2

Hsii Ching, embassy of, 10, 17
Hsiin-lien-yiian, 45

AHua, signification, 12

Hui Ch’ang, emperor, 16
Human figure on Corean pottery, 7

Imari ware, 20

Imported wares, Chinese, 14, 19, 42, 43 3
Japanese, 14

India, 6-8

Inlaid decoration, 11, 13

Inscribed pieces, 9, 24, 43

Iron, glaze-colour derived from, 14, 21

Italian pottery, 8, 19

Japan, relations with Corea, 1, 2, 14
Ju-chou, 10

Ju-i sceptre, 8, 27, 28, 32; 33
K’ai-féng Fu, 18

Kakigusuri, 16, 37

Kao-li, 1, 16

Kao-h-yao, 4

Khotan, art of, 2

INDEX 47

Kiangsi province, 17

Koma, I

Korai dynasty, 2, 4, 9, 15, 21, 23, 443
kingdom, 1 ; -yaki, 4

Koriéd province, 1, 2

Kuan yao, 18

Kudara, 1

Longevity symbols, 7
Lotus, symbolism of, 6, 7
Lung-ch’tian, 10, 12

Maiolica, 8, 20

Majorca, 20

Maker’s signature, 9

Manchuria, pottery from, 3; subject to
Kao-li, 16

Mandarin-ducks, 6, 28, 41

Marbled ware, 37

Meiki, 3

Memorial $lab, 21, 45

Ming dynasty, 2, 20, 28, 45

Mishima decoration, 33-35 ; early type,
11; in China, 11; in Japan, 13;
origin of, II

Mo chi-ming, 45

Nara, 2, 6
Nelumbium, 7
Neolithic pottery, 3
Neriage, 19, 37

Oang the Founder, 2
Oil-bottles, 6, 27, 31, 34
Ox-eye daisy, 6

Pai Ting, 17, 18, 40

Parrot form of phoenix, 6

“ Partridge cups,” 15

Path, Eightfold, Buddhist, 7

Pékche, 1

Pelliot Mission, 8

Peony motive, 6

Persimmon-coloured glaze, 16 ; juice as
pigment, 19

Pheasant form of phoenix, 6

Phoenix, 6, 44

Phyéng-an province, 45

Pigment-boxes, 5» 17; 24) 25, 29, 31, 39

Pi-sé porcelain, 10

Plum-blossom motive, 6 ; and torrent, 28

‘

48 | INDEX

Po-chi, 1

Po Chiin-min, 45

P’o-hai province, 16

Putti paralleled in Corean art, 8

Quarters | of Heaven, Four, symbols
of, 44

Ri dynasty, 2
Roc, 6
Roman pottery, 19

Saghalien, pottery from, 3

“‘Samian ” ware, 19 |

Sanchi tope, 6, 7

Sand as support for firing, 55/9, -11y.25
Satsuma province, 13.

Sceptre, Si a Juris, 85-27, °28,=32,

Seoul, 2, 4; Museum, 4

Sheldrake, Ruddy, 7

Shensi province, 45

Shinra, 1

Shiragi, 1

Sh6so-in, Nara, 6

Shou Lac, 7

Shuko-yakt, 18

Silla dynasty, 3, 23; kingdom, 1, 2

Si-ngan Fu, 45

Sin-lo, 1

Slip decoration, 9, 11, 18, 25, 40

Snake and tortoise, symbol, 45

Song-ak-san, 44

Songdo, 2, 4, 8, 44

Spittoon, 28

Spur-marks, 13

Staffordshire ware, 19

Stamps used in decoration, 4, 23

Stilts for support in kiln, 5, 11

Stork analogous with goose, 7

Sun-bird, 6, 7, 44

Sun-do, I

Sung dynasty, 9, 10, 12, 13, 14, 16, 19,
42

Tablet, memorial, 45

Taiko, the, 2

pate, Dy

T’ang dynasty, 1, 6, 11, 14-16, 19, 37,
38, 44

‘Tea ceremonies, Chinese, 14; ceremo-
nies, Japanese, 18 ; clubs, 20; ritual,
Tibetan, 27 ; unknown in Corea, 5

.Tea-pots, Tibetan form of, 27

“¢ Tear-stains,” 17, 39, 40

Temmoku wares, 14, 15, 37, 42) 433
origin of name, 14

T’ien-mu-shan, mountain, 14

Tiger, White, 44

Ting-chou, 16, 18, 19, 40

Ting wares, 16, 17, 38

Tombs, Corean, 22 ; records, 45 ; wares,

39 4
‘Tope, Sanchi, 6, 7
Tortoise, symbolical, 44
Tou, form of tazza, 4
Toys, 9, 25
Translucent wares, 8, 9, 16, 18, 23, 40

‘Tun-huang, cave at, 6

Turkestan, Chinese, 6, 8
Tu Ting, 07,18, 39
Tzt-chou, 19, 42, 43

Vahana of Brahma, 7

Valencia, 20

Vegetable form, vessels in, 5

“‘ Vehicle” of Brahma, goose, 7
Vermilion, boxes for, 5

Wang the Founder, 2

Warrior, Dusky, 44 -

Water, vessels for storing, 6

Water-lily, symbolism of, 6

Water-pot, writer’s, 42 |

Wedding ceremonial, Corean, 7

Wei, Northern, dynasty, 3

Wheel, potter’s, introduced in Corea, 3 ;
in Japan, 4

Wheel of fhe Law, Buddhist, 7

Whieldon, ‘Thomas, 19

White wares, 16, 38

Willow motive, 6

Wine-pots, 10, 26, 27) 34) 39% 43

Writing-table, pots for, 42

Yatsushiro, 12

Yegorai, 11, 20, 34, 35
Yi dynasty, 2, 20

Yi Taijo, 2

Yoshimasa, Shogun, 18°
Yiieh-chou, 10

Printed in Great Britain by R. Clay and Sons, Ltd., Brunswick St., Stamford St.,S.E.1,and Bungay, Suffolk.

PLATE 1

(a
re

‘Ayseudp

ETLES =e e! jo JIVMUOY IVT

N

PLATE. 2

114

Brown-glazed wares of uncertain date.

Pirate 3

‘urepeotod ajy

4

PLATE

VI

SoU iwjaosod oytyM JUVIN Sues T

Lb |

PLATE. §

Early porcelain of uncertain date.

-PLrate 6

32

40

Celadon-glazed vase and wine-pot.

‘at RE

49:

Celadon-glazed wine-pot and

fish-bowl.

PLaTE 8

41

Celadon-glazed bottle.

PLATE 9

Celadon-glazed wine-pot.

PLATE I0

ays.

Celadon-glazed wine-jug.

PLATE 11

Celadon-glazed ware.

PLATE 12

"purys pue dno pozvps-uoprya

gv

Pitts

‘uooyids pozeps-uoprjas

of

PLATE 14

2}, “Ypararere amoebae mx petra: dar roars

— wi pt nto vnascont es

a? Sy eae a “Or i eee er ee

Celadon-glazed bowl.

Celadon-glazed bowl.

PLATE

perenne rpymeanreg

“

aS

PLate 16

Celadon-glazed dish and bowl.

Plate’ 17

60

Celadon-glazed bowl.

PEATE. 18

‘[MOq pozv]ds-uopryes

19

a A A ne

Celadon-glazed bowls.

PLaTE

ae,

PuArE 20

66

Celadon-glazed bowl.

Celadon-glazed bowls.

»)

a

]

PLATE 22

7°

d bowl.

ima Cup an

sh

Mi

Pier ‘34

LL

‘ysIp puv soxog-juawsid

6L

DULLYSII

PLATE 24

imeXe)

TIO

Mishima wares.

Mishima bowls.

PLATE

re.

PLATE 26

Q2

Mishima bowls.

\

95

PLATE 28

‘Sunuied dis yum [Moq pezeys-uopelad

66

PLATE 29

| exe)

Slip-painted wine-pot.

PLATE 36

“YsIp pue

$9]1JOQG=|10 poy ied

dis

;
4

PLATE) 31

Mishima jar.

PLATE 32

Slip-painted vase.

PLATE 2a

107

~ -Slip-painted vase.

PLATE: 24:

ae

/

Steen:

nat

108

Early mishima bowl,

PLATE

5

Oo

Celadon-glazed bowl and dish.

PLATE 36

68

Celaaon-glazed bowl. ‘ Marbled” bowl.

PLATE /.39:

119 121 120
141 115 142
140 118 122

Brown-glazed wares.

PiaTE 38

118

White porcelain own-glazed porcelain bowl and stand.

PLaTE 39

“OTEM poesINOTOS-WvIID

rail

Ayiea Jo

ae |

PLATE 40

Uzi

‘s[Moq pUv SdxXOq dIVM Suz],

Sz

N

ce

PLaTE 41

‘yod-autm ose duz ZL,

ie

oe

PLATE 42

134

PLATE 43

136

Slip-painted Ting ware bowl.

PuLaTE: 44

ao

imps Vices aC hinese.

Tz ti-chow vase

PLATE

45

PLaTE 46

"Jsoys) 9UO}S

XIGNaAdd V7

PLATE 47

10Nn.

exterior dece 2t1

2)

Stone chest

PLATE. 4.3

APPENDIX

Stone chest ; interior decoration, side, and end.

NOTE

HIS Catalogue can be obtained direct from the Director and

Secretary, Victoria and Albert Museum, London, 5.W. 7,
or through any bookseller. The price 1s 35. 6¢.; by post

45. od. Orders should be accompanied by a remittance.

Catalogues and handbooks relating to the Department of
Ceramics are shown below.

Publication No. Catalogues.
7c . Matonrica. By C. Drury Fortnum, D.C.L., F.S.A. pp. cix. and 698 ;
12 chromolithographs and 61 woodcuts. Roy. 8vo. Bound. 1873.
2/. [By post 2/, os. 9d.]

21c Grass VessEts. By Alexander Nesbitt, F.S.A. pp. clx.and 218 ; 24 plates.
Roy. 8vo. Bound. 1878. 12s. [By post 125. 6d.]

53 Derr PLares; a series of twelve illustrating the Tobacco Industry, pre-
sented by J. H. Fitzhenry, Esq., with description and illustrations.
4to, Cloth. 1907. 45. 6d. [By post 5s.]

106 Tue ScurerBer Cotctecrion. By Bernard Rackham. Vol. L, English
Porcelain. pp. xviii.and 186; 96 plates. Crown 4to. Paper boards.
1915. 25.6d. [By post 3s. 3¢.] Vol. IL. will deal with the Earthen-
ware in the Collection, and Vol. III. with the Glass and Enamels. These
will not be published until after the war.

123. ¢ . THe Herspert ALLEN CoLLecrion oF ENGLIsH PorceLain. By Bernard
Rackham. pp. xvi. and 168; 99 plates. Crown 4to. 1917. 25.
[By post 2s. 6d.] Cloth 3s. [By post 35. 6d.]

Handbooks.

= Oe EnousH EarrHeNnwark, made during the seventeenth and eighteenth
centuries. By Sir A. H. Church, K.C.V.O., F.R.S. Third edition.
pp. xvill. and 154; 78 figs. on 67 plates. Demy 8vo. igit. 1s. 6d.
[By post 2s.]; in cloth 2s. 34. [By post 25. 9d.]

7i1.€ ENGLISH PoRCELAIN, made during the eighteenth century. | By Sir A. H.
Church, K.C.V.O., F.R.S. [Out of print and will not be reprinted
until after the war.|

pice Japanese Porrery. A native report, with an introduction and catalogue.
By Sir Augustus W. Franks, K.C.B., F.RS., F.S.A. [Out of print
and will not be reprinted until after the war. |

79 c. )©0 SraineD Grass. By Lewis F. Day. pp. vi. and 115 ; 32 plates, 34 figs.

Demy 8vo. Reprinted 1913. 15. 6d. [By post 15, ro4d.]; in cloth
25. 3d. [By post 25. 74d.]

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